Volume 41, Number 04 (April 1923)

><

T? <1

Theodore Presser Co., Publishers, Philadelphia, Pa.

for Child Pianists

.ptaliW P “ e ‘ h

•ollections makes them children and the

nd the covers are just as delightful.

■ niiMc MOW HELPFUL WITH JUVEN1LES_

Little Albums

Teachers
of Children

Send for our interesting
“Catalogue of Juvenile
Musical Publications

This catalogue ha. many helpful

wot k 8 d«C i rfed._Thck.nder t gc 9tK

Pearls of Instruction in L

The very appearance of these charming
little musical gems beh

TEACHERS WILL FIND THESE /

Birthday Jewels

Old Rhymes with New Tunes

The World of Music

THE ETUDE

THE ETUDE

APRIL 1923 Page 219

AN UP-TO-THE-MINUTE LIST OF

New Music

Piano Solos and Duets, Vocal Solos, Sacred and Secular,
Vocal Duets, Violin and Piano Numbers,

PIANO SOLOS

Theodore Presser Co. SKU Philadelphia, Pa.

SPAULDING EASY ALBUM £ r Td l e l I£K %£ ] S

PRICE, 75 CENTS

1922-1923
Etude Prize Contest

PIANO SOLOS-VOCAL SOLOS

ANTHEMS — PART SCfNGS

$1,250.00 in Prizes

UTE TAKE pi

WsKSf

TAKE pleasure in making the following offer
our Etude Prize Contest, being
of the real value of a contest of this
der interest in composition and of
of composers. In this contest all
l assure the contestan

l AND FIFTY DOLLARS

PIANO SOLOS

S1 * F ° r Koines
FIRST PRIZE...

2 - "■'fzsm

FIRST PRIZE.

SECOND PRIZE...

CLASS 3.

FIRST a pRIZE /e !

THIRD PRIZE.

VOCAL SOLOS
CLASS!- For*,

CLASS 2. FIRST PRIZE

SECOND PRIZE..

FIRST PRIZE.

SECOND PRIZE...
THIRD PRIZE ...

SECOND PRIZE •
THIRD PRIZE ...

CLASS 3. FIRST

CONDITIONS

Composition^ the ususrtsheet *formf °*

ETUDE MUSIC MAGAZINE, Phila., Pa.

the etude

^PKIIAL SUMMER SCHOOL ANNOUNCEME NTS PAGES

-- ESTABLISHED 1857

ISJPEABODY

? HAROLD RANDOLPH, Director

o/de.f W most _

ZECKWER-HAHN

Philadelphia

Musical Academy

1617 Spruce Street

Branches in

West Philadelphia Tioga

Germantown Doylestown

Directors:

Camille Zeckwer Feel’e Hash

Charlton Murphy

Pennsylvania’s Leading School
of Music

53rd Season. Classes in AU Branches

Preparatory Classes for Beginners

BRENAU'

MM COLLEGE

IM Ml CONSERVATORY

|:S;S|S

BRENAU, Box T, Gainesville, Ga.

Atlanta Conservatory of Music

THE FOREMOST SCHOOL OF FINE ARTS

IN THE SOUTH

Advantages Equal lo Those Found Aoyurfnrs

Student! may Director

Peachtree and Broad Streets, Atlanta, Georgia

MRS. W. M. SIKES

(.Formerly May Lipscomb, of Richmond, Va.

Pupil of Emil Uebling

Member American Guild of Organist*

ffiNfERT PIANO, ORGAN, VOICE

C0 N TEACHING, PIANO and VOICE

MISSES MARG^ET3 h RUTH SIKES

SIGHT READING

MADE EASY FOR PIANISTS^ ^

jraa-arsstsaarta *

DANFORD HALL,4317 Christiana Ave.,Chicago, 1U.

BURROWES COURSE
OF MUSIC STUDY

KATHARINE BURROWES

D. 246 Highland Avenue, H. P., Detroit. Michigan

- ' __________

^ANA^slilUSICAriNSTITUTE

u WARREN, OHIO

THE SCHOOL OF DAILY INSTRUCTION IN ALL
THE BRANCHES OF MUSIC

Address LYNN B. DANA, President

The COSMOPOLITAN
SCHOOL of MUSIC
and DRAMATIC ART

dr. carver williams. *—-■*—*■

An eminent faculty of 60 artists offers to
prospective students courses of study
based upon the highest standards of edu¬
cation, also courses in collegiate studies
for students unable to attend university.
For information, address Dept. E
E. L. STEPHEN, Manager
16th Floor Kimball Building, Chlcagc

Lake Forest School of Music

M4DTA mtt.tnowski. Dir.

A Courses in all branches of music.

? -- *—“tr nf collegiate standing

desirable Dormitory

Lake Forest School of Music, Dept. 14, Lake Forest, III

Private Teachers EKE

■ - the Western Conwvatory may provide reaular

•y advantages for their pupils al home.

?. H. SCOTT, Kimball Hall, Chicago.

Valparaiso University

School of Music

(Accredited)

VALPARAISO, INDIANA

g!^ a ii 8 o s ™^r t «rw d orf.? 1 «hc

“the expenses are the lowest

Va^inai.‘^Cniv > cr8hy,—-Deptl^4i < Vaip'' ra i 80 » W•
STUDENTS MAY ENTER AT ANY TIME

Heidelberg Conservatory of Music

A STANDARD CONSERVATORY
R Mu, GranU Teacher, Certiiicat.-s

Piano, Voice, Violin, Organ, Theory

Thorough Teachara Ratea Reaaonable

For Free Catalogue, address
Prealdant CHARLES E. MILLER^

The Courtright
Sy.tem of Musical

Kindergarten correspondence course.

Mr,. Lillian CourtrighI Card, 116 EJna Ava„ Bridgeport. Coon.

FLKLI r ULLIla Vv
VIOLINIST

LAWRENCE °CONsIrVATORY
APPLETON, WIS.

A MASTER TEACHER

ou“ SU rtud°St PO S Un vSin. f ° r ‘ V

>r CARL L WATERMAN, Dean.

LAWRENCE CONSERVATORY

Professional Directory

s. Free Catalog .

CARL J.WATERMAN, Dean

Crane Normal Institute of Music

Training School lor Supemoor. ol Mu.ic
K BOTH SEXES .

Voice culture, right-ringing,method*',
practic e-1each ing° f r*duatV, ho 1 d important por¬
tion. in college., city and normal .cbool..

53 MAIN ST., POTSDAM, NEW YORK

Minneapolis School of Music,

ORATORY AND DRAMATIC ART
WILLIAM H. PONTIUS D^tomftD.UcArt

"‘To.62 Eh,."so. MINNEAPOLIS, MINN.

BEECHWOOD SeStyoftUn teacher,.

BUTLER-REDFERNl;:

DnvrF KSfoMsa. 1 :

; THORPE I
- TRENTON

“"ES VEON

245 West 54th 8t., N. Y. City. ■ UV> '

ATOKY «

modern Inrtltution with a siron. i
MO E. 8tate Street, Trenton, *

combs:

CHARLES •

H.rmonv, Comtervo.nl and Musical h

STATE NORMAL SCHOOL. California F e

VIRGIL

- , O’Wg’T TTl/f OF IMPROVED rtUSIC

DUNNING SYSTEM study f 0r beginners

A Heart-to-Heart Talk with Teachers

“gTur o“«P^ SdbSg you* large, following of new oae.f

Progress the Demand of the Hour

T ecritimatelv to get the most, to be the most, to do the most in a
Legitimately ® f t u: i: v : nB age in all lines of endeavor —

work *in the^five'weeks’^normaTcourse IsTaugSbythe originator of this

Names of teachers will appear in this space next iss . (

------” “please mention THE ETTJDE

DUNNING SKWWW3

WESTERN

EDDY

FABBIZI

AMERICWSaF-"* 8 ®:

BURROWES’ Dert°D*14Ym.Iliai'l P Ave*?.F. •

SCHOOL. Vole, Piano^Harmony. DMrolL HlcS.

Chicago

ADDA C. Normal Teacher, Teacher's Training

Olaseee in Dunning 8ystem of Improved Music
Study. Leschetizky Technic. Catalog froe.
Bellefontaine, Ohio

GILBERT 3BSK3&

of Musical Re-Education, 57 W. 48

New York City.

GUICHARD

,**061?*°..

CINCINNATI
DETROIT

TATOKT OF MUSIC
1060 Btudentu. 60 Teaclieri
Woodward At. Detroit. *!«*•

HAWTHORNE

KRIENS

Composer- violl

ax*

KNOX ‘

A MBA M. FORMAL TEACH®

TOMLINSON

MOULTON

Philadelphia

WESTERN

NEW YORK *

RIESBERG

Tl F.W. Plano Instruction
. his personal Instruction -
oywauU Scharwenka & r,—*
PIANO Den t N. Y 8cl

I. 437 Firth At... Tel. 4?92 Murray I

n addressing our advertisers

SOUTHERN

BRYANT

; CONVERSE COLLEGE^ig g

ANNUAL SUBSCRIPTION, $2.00

THE ETUDE

APRIL, 1923 Single Copies 25 Cents VOL. XLI, No. 4

Home-Made Music Necessary

The scrivener sat in his stall by the highway. A youth
came to him and said, “Prithee, sir, I would that you should
write me a love letter to my lady. Here is tuppence for
your skill.”

“What would you say?” quoth the man of letters.

“Tell her that I love her more than anything,” answered
the gallant. The scrivener took his quill and wrote:

Fairest Lady: E’en as the swn shines on all the
firmament, e’en as fair Luma embraces all the world at
eve, so would I bring my love to you. Adonis never
knew the thrill with which I send this greeting. May
your every hour be blessed with rapture imtil we
meet again.

Joyfully the swain took his letter and went his way, won¬
dering at the skill of the learned
man who could write it so that his
sweetheart could easily employ
someone to read it to her.

Now, we may buy our music
ready-made or make it ourselves.

There is a very great joy in listen¬
ing to music made by others. What
with the art of Paderewski, Hof¬
mann, Galli-Curci, Grainger, Godow-
sky, Bauer, Kreisler, Ganz, Werren-
rath, Farrar, Huberman, Tiffany,

Gogorza, Strauss, Chase, Zimbalist,

Elman, Oscar Seagle, Julia Culp,

Stokowski, Sousa, Ruffo and count¬
less others who have recorded their
interpretations for various lands of
sound-reproducing machines, it is
now possible for people of very mod¬
erate incomes to bring to their
homes the finest kind of music as
performed by masters of the art.

Every musical home ought to pos¬
sess the advantage of owning these
recordings. Prom the beginning of
the artistic development of music¬
recording apparatus, The Etude
has enthusiastically exploited its
possibilities. We are more than ever
convinced that these instruments
have enormously increased the gen¬
eral interest in music and have been a factor in inducing thou¬
sands to learn to play and sing.

At the same time, the musically inclined person should know
that the higher enjoyment of his records, and of music as a
whole, cannot be obtained in any other way than through the
diligent study of music, whether this is done as an amateur or
otherwise. We have passed the day of the scrivener, when we
had to employ someone to read to us or to write for us. The
ability to read and to write enhances our love for the drama a
thousandfold. In just such manner does a knowledge of music—
that is, the ability to play or to sing with proficiency and with
familiarity with the foundations of the art—increase one’s
enjoyment of music in every form. If you want to get the best
fun out of music, learn music. Anyone who has gone through
the experience will tell you why. Let’s have more and more
.home-made music. Music is the inspiration of every whole¬
some home group the world over.

Rewarding the Real Leaders

Because our general field is education, and because this
injustice affects teachers of music as well as other pedagogues,
we feel that the discussion deserves space in The Etude.

Every sensible person admits that the safety, prosperity
and happiness of a State depends upon the character, brains
and industry of its citizens. The makers of citizens from the
raw material of infancy are the teachers, the educators. This is
becoming more and more true every year. Recent school admin¬
istration methods have gloriously absorbed music as a necessary
part of the educational scheme.

Admitting the position of the teacher to be the most
important among all public servants, it seems absurd to read in
the Analysis of the Interchurch World Movement on the Great
Steel Strike that the average wage for teachers throughout the
country is at a rate of just about
one-half that paid the what are
classed as common laborers in the
steel industry. The shame of it!
Oh, the shame of it!

The remedy for strikes and all
social troubles lies in education in
our schools (including character
building with the inspiring back¬
ground of music). This education
is now in the hands of men and
women who are the logical strike¬
breakers for strikes of the future.
With the right understanding, with
harmony and justice there can be
no strikes. Labor and capital both
should clamor to see that the wage
of teachers is raised so that the pro¬
fession will command the very best
citizens, and that they shall be paid
liberally for their services. Enter¬
prise, initiative, trained industry,
ethical ideas, patriotism, art, prog¬
ress, are all now, in a very splendid
way, the responsibility of the
teacher.

Millions of dollars are lost every
year in strikes and social eruptions.
Why? Because we are forgetting
that the leaders of the people are
the educators in the home, school and
pulpit. Pauperize the real leaders and the only result is the
rule of the mob. Let us pay our leaders handsomely!

We would feel that we were neglecting one of the greatest
privileges and duties of our publication if we did not now and
then claim our share in helping to mould public opinion to
a higher appreciation of the teacher’s worth. Won’t you
join with us in emphasizing this stand by persuading aS manv
of your friends as possible to spread the ideal?

Public opinion, moulded by just such cultured, idealistic
people as those who read The Etude, will help immensely.
Your personal effort in urging this among your own friends
will help immensely. The main thing is to keep on urging it

every day. • _

The teacher—whether mother, priest or schoolmaster—is
the real maker of history; rulers, statesmen and soldiers do but
work out the possibilities of co-operation or conflict the teacher
creates.—H. G. Wells.

221

America’s Favorite Hymn

ABIDE WITH ME

Arranged as a Solo
(In the Music Section of this Issue)

As Sung by

Mme. Amelita Galli-Curci

This beautiful arrangement was made by MR.
HOMER SAMUELS for his wife, Mme. Amelita
Galli-Curci, in response to countless requests to
include this famous hymn in their concert pro¬
grams. The arrangement appears for the first
time 'in print in this issue of THE ETUDE
MUSIC MAGAZINE. The arrangement is
admirable for both concert and church use. THE
ETUDE hymn census published elsewhere in this
issue indicates “ABIDE WITH ME’’ as Amer¬
ica’s Favorite Hymn.

Music and Telepathy

We have never talked with a psychological expert who was
willing to admit that what is known as telepathy, or the trans¬
mission of unspoken thought from individual to individual at a
distance without some such physical means as the telephone oi
the radio, is demonstrable. All these experts have insisted that
such reported instances of telepathy as one constantly hears are
merely coincidences. Gabriel Bernhard, in the Paris Le Cour-
rier Musical, however, takes a very different viewpoint.

After reciting the attitude of Richet, Heuze, Branly, Tuf- •
ficr, Janet and other French metaphysical savants and members
of the Academy of Sciences, he points out that some of these
scientists are of the mind that telepathy is identical with some
physical phenomenon not dissimilar to electricity as employed
in wireless telegraphy. As far as we are concerned, this is
purely conjecture, as we do not know or believe that it has been
demonstrated creditably through physical instruments.

Everyone hears of “hunches” or “premonitions,” and some
of us have had startling examples in our own experience; but,
until we can work out occult wireless when we want to work it,
we must put all these things down to coincidence.

The writer in Le Courrier Musical, however, insists that
there is in music a wonderful field for telepathic experimenta¬
tion. He tells us that there is an unquestioned telepathic bond
between the conductor and his orchestra. He suggests that
the experiment of having the conductor lead in the dark at times
will demonstrate it. We have heard the Sousa Band play
through an entire number in 'its program when the electric
lights went out and the great bandmaster was invisible. The
effect was excellent. But was this not due to years of previous
training? On the other hand, the Sutro Sisters, in their won¬
derful two-piano playing, sit back-to-back and revel in compli¬
cated rhythms, crescendos and nuances which would seem to
indicate something like telepathy. The subject is an interesting
one, but one of which we know so little that we shall not attempt
to give the impression of anything like sophistication.

Art to be beautiful must have form. Sir Charles Villiers
Stanford says: “It is a law of nature that no art can be form¬
less without being; also monstrous. What is true of nature ztnll
always be true of its idealisation.”

Then and Now

If you want to realize how the musician’s place in the social
scheme has arisen, just read this part of a letter which Mozart
wrote to 1 the archbishop, asking his ruler to kindly fire him so
that he could earn a living.

“ * * * I am bound before God in my conscience, with

all my power to be grateful to my father—who has unweariedly
devoted all his time to my education—to lighten for him the
burden and now for myself, and afterwards for my sister, for
I should be sorry that she had spent so many hours at the
harpsichord without making a profitable use of them. With
your Grace’s leave, therefore, I most humbly pray your Grace
to dismiss me from your service, for I am anxious to take
advantage of the approaching months. Your Grace will not
take unfavorably this most humble prayer, since three years
ago your Grace, when I begged permission to travel to Vienna,
was graciously pleased to declare that I had nothing else to
hope for, and should do better to seek my fortune elsewhere. I
thank your Grace in deepest humility for all great favors
received; and with the flattering hope of being able to serve
your Grace in my manhood with more approval, I commend
myself to your Grace’s continued favor and goodness.”

After all this palaver the archbishop graciously consented
to discharge the greatest musician of his age. How different
would be the fate of Mozart now. Managers would be fighting
to make contracts with the boy who was virtually obliged to
go upon a kind of begging tour in order to get a start. He
would receive offers of thousands of dollars instead of a few
pennies or shillings. He would ride in luxurious Pullman cars,
instead of bumping diligences, he would live in hotels far more
palatial than anything that ever entered the archbishop’s
imagination.

From Trovatore to Boris

Moussorgskv s “Boris

When one hears a away f r0 »i the “Trovatore”

Godounoff,” it seemsi so ma y Moussorgsky in his

of Verdi that it is difficult to as k ; nd of militarv

youth was described by one - k and spnn , his feet small

fop with “well-fitting uni > | hed and pomaded, his hands
and shapely, his hair carefufly „ is mannel ,

»eU .“ngly .„<! he l„vi,h

were exceedingly lefin , P ^ t touch of conceit, but
with his French p ‘ ; d ood breeding remained con-
not too much; his educatmn ^ He would sit at

spicuous; the ladies were tures play portions of Trovatore

<CHa Wa^t a cafeTatavism which carried Moussorgsky from
the artificial glamor of the Muscovite court society to the dis¬
sipation which accompanied his later years and the manifesta¬
tion of the peasant atmosphere in Ins naturalistic mu.ic.

The picture we know best of Moussorgsky was painted
shortly before his death (by Repin), when Moussorgsky had
been through the agonies of great poverty, which he had
attempted to drown in vodka. The smooth, polished parlor
pianist, strumming away at arrangements of Verdi operas had
completely vanished. Instead was a realistic genius, an a mm
clast, whose idea of setting words to music was that of follow la¬
the natural inflections of language. It was an enormous h ap
from the trite and inconsequential Rondos of Herz, whirl.
Moussorgsky played as a young man, to the huge musical can
vases of the Master’s later years of which Debussy said, “It
resembles the art of the enquiring primitive man, who discovers
mnEip cfpm tw stem omided onlv bv his feehmrs.”

Francesco Berger, London pedagogue and writer, wlm,r
contributions to The Etude always bring an atmosphere <>f
youth and sprightliness to our pages which never betrays hi,
eighty-seven years, makes a plea in the London Musical Record
for “less difficulty” in pianoforte pieces. After all, difficult v
has very little to do with sheer beauty. Traumerci is just a,
complete and just as beautiful, in its way, as the Carnarol.
Berger says: “I am not advocating the total abolition of all
difficulty, or a return to the simplicity of Haydn and Diubclh.
But surely there is an immense gap between music of Grach A
and that of Grade Z. Pieces which completely absorb the at ten
tion of the average player by their demand on his technic l.-.-nr
him little freedom to attend to other matters. He is trending
the tread-mill of toil, instead of strolling happily through lla-
scented groves of musical imagination.

“The question of difficulty resolves itself into this: What
is the ultimate object of all music? Is it to astonish, to bewilder,
to make our hair stand on end? If so, the performance of it
ranks on the same low level as that of the acrobat who walk,
across the stage on his hands, with his head protruding between
Ins legs, masticating glass bottles. But if music is intended
to serve a higher mission, and that mission be to supply loftv
intellectual enjoyment and to evoke thoughts, sentiments and
emotions which even the choicest language is inadequate to

some ’pieces misLTS lfe£^

much bad piano plavinl M |j has ‘ x P 0Sed the kernel of

of acquired prowess Thu tl ' """ a " "' ,int to make show
a piece that is techrica%j^ 'Zfi* ^ ^ I***™
well within his grasp. F ar be Her / T* h,m insteml ,,f onC
an exhibition of musical tic-lit ^ "“Nm " ,US,C t1liln to m,lkc
hearer apprehensive rather tlm,i d^ij " ^ ,h "

do justice to the mZicdV^enuton C °" 1d not hcf)in 10

m New York City in one dear”' tz mmandm S serious attention
politan newspaper critic. 1 U ' S commculs a noted metro-

THE ETUDE

APEIL 1923 Page 223

New Lights on the Art of the Piano

An Interview with the Master Composer and Pianist

SERGEI RACHMANINOFF

e^piam) 1 since the time of
ssible exception of Edvard

our artistic advance and our artistic needs ^mnanlnoff

Secured Expressly for The Etude

■1-1 1 •. Alexander Siloti, the

Conservatorium, with his cousin^ time t00 k lip

and technical skui. iney are l ;“ a n \A » vnw/from

brilliance and lofty idealism that one would expect irom
this scion of a noble Russian family. He has written three
one act operas, several symphonic^

In l919 S ’TH; d ETy^
pSbUshef a Rachmaninoff number (October) presenHng
information about this master and his works, otherwise
unobtainable in the English language. The following inter-
. .. it— oirmitip'inf wp hnvp. bad the honor

Is the Art of Playing the Piano Advancing ?

“The art of playing the piano has not only not reached
its limits, but it is very questionable whether the standards
of attainment at the keyboard are anything like as high
to-day as they were in the days of Anton Rubinstein, to
my mind these performances transcended- all who have
appeared since their time. Indeed, I might be so extrava¬
gant as to assert that Anton Rubinstein played twice as
well as any who are playing to-day. Rubinstein was a
pianistic marvel born to master the instrument, to glorify
it to devour it, as it were. Rubinstein had something
more than technic. He embraced all the qualities that a
master of the keyboard should have. Notwithstanding the
difficulty of Chopin and Liszt compositions, they are all
pianistic. There are two- kinds of difficulties : Difficulties
which exist because the composer does not recognize the
nature of the piano and makes his works uncomfortable
for the performer,, with no gain whatever in pianistic
effect, and the difficulties which are pianistic, that is,
always playable, always in the genre of the instrument.

“Of course all composers have their admirers, their
followers. Often the admirers are such because of their
personal inclinations. They are ignorant of what consti¬
tutes real beauty in piano composition and piano playing.
They learn that it is fashionable to admire certain phases
of what is termed futurism. They like the pose of being
"modern,” “up-to-date,” and they affect to like the works
that no human being with a rational mind could possibly
enjoy. Such a public rarely thinks for itself; it is much
more comfortable for them to accept a fashion which
others applaud, even if that fashion is altogether hideous.
Human nature is odd in this respect. Time, however,
decides between the permanent and the artificial and
inevitably preserves the good, .the true and the beautiful.

The Lure of the Piano

“The piano is the most obvious instrument and for that
reason will always be the one which has the greatest
appeal to the amateur. It is the door to musical litera¬
ture because of its command of-bass, treble and the other
inner voices. It is simply indispensable in music because
of this. It is not nearly so difficult as the violin, because
the tones are already made at the keyboard and the player
does not have to go through the experience of finding
them as on a violin. ,

“It is true that the piano does not develop the sense
of hearing as does an instrument on which the student
is expected to make his own tones; but for the most
part it is decidedly the best instrument for the beginner.
Musical talents come into the world with marked in¬
clinations toward certain instruments. If a great genius
is discovered with inclinations toward the violin, this
should be encouraged.

“The training of the ear may probably be best devel¬
oped through singing. In Russia, in the Government
schools, this is one of the compulsory studies. The pupil
must go through his classes in solfeggio, and it is not
regarded as a matter of secondary interest. He is not
taught solfeggio with the idea of making him a singer,
but with the thought that unless he learns to hear his
music, and understands the intervals, his playing and
singing can never be more than merely mechanical. The
singing improves the rhythm. ,

“The advantage of the Government school is that,
unless the student manifests real talent, he is not per¬
mitted to continue. He may go to a private school if he
chooses, but the State did not undertake to give him a
musical training unless it was convinced that music was
the career for which he was best fitted. In America,
practically all the schools are private. The pupil is re¬
garded as a business asset to be retained and taught as
long as a modicum of talent warrants his continuance.

Don’t Be Afraid of Technic

“One hears a great deal about the danger of too much
technic in America, which seems absurd. To my mind

SERGEI RACHMANINOFF

the first thing a pupil should seek is to acquire as much
technic as he can possibly comprehend. This is the rea¬
son why it is necessary to begin at a very early age. A
technic must be built, just as a house must be built, ft
takes years to do this. There are no real short cuts. The
muscles grow in power and dexterity, through a course
of years of daily hard work. When one begins late m
life, it is possible, of course, to learn to play,.often m a
very gratifying manner; but it is very rare that it. is
possible to acquire a huge technic which is really a mix¬
ture of hard practice and years. I know of no pianist
who began late in life to study the instrument who ever
acquired a great technic. Show me an exception. Make
your start at six or seven, not nineteen or twenty, if you
hope to get the technic which every public artist must
possess. This should not discourage those who, starting
later in life, hope to play the instrument well. They may
play it well, but they will never have the virtuoso technic
which the public of to-day demands. Strangely enough,
however, if the hand and mind-are trained in youth, it is
possible after a lapse of years, to start to build again and
produce very unusual results. The technic acquired m
youth seems to remain as a kind of musical capital.

’ “Personally, I am a great believer in scales and arpeg¬
gios. What is there to excel them? When you can play
them well you can begin to study with the proper techni¬
cal background. .

“Two hours daily is none too much to devote to technic
until the hands and muscles receive that drilling and exer¬
cise which they must have for the great tasks.of perform¬
ing the masterpieces of the art. In Russia it is the aim
of the best schooled teachers to accomplish as much of
this as is compatible with the health of the child, as early
as possible. In fact, by the time the student -reaches the
first to the sixth classes he is through with most of it.
When he reaches his sixth class, he is confronted with
an examination before he is permitted to pass to the next
grade. This technical examination has largely to do with
scales, arpeggios and exercises. If he cannot pass this he
' stops there until he can. That is how much Russia thinks

of technic, and we have had the reputation of producing
some astonishing technicians.

A Determinative Examination

“The examination given is of a nature that may interest
some American students and teachers. At least the fol¬
lowing outline will show in part, how thorough it is. The
pupil by this time is supposed to know his scales and his
arpeggios, as well as the average child knows the multi¬
plication tables. In other words his knowledge and skill
are expected to be ready at once. He is not supposed to
hesitate to gather his wits. When the direction is given
by the examiner he is expected to play the scale, or ar¬
peggio immediately as directed.

“The student on coming into the examination room is
told that he will be examined upon the scales and arpeg¬
gios centered, as it were, upon a given note, “A” for
example. He does not know in advance what note he will
be examined upon. First come the scales. The metro¬
nome is set and the pupil is directed to play eight notes
to a beat, or any given number,.in any rhythm the exam¬
iner determines upon. First, he would possibly be asked
to play the scale of A major, then that of A minor, in
the different forms. Then he might be asked to play the
scale of G major,.starting with A, then C major, then F
major, then D major, then B flat, then E major; in fact
any major or minor scale containing A. The examiner
notes at once whether the student has the fingering of the
scales at his finger tips, whether he employs the right
fingers for each scale. It is comparatively simple to play
the scales in a given key from octave to octave; but,
when you think of it, they rarely appear in such form
in actual compositions. Rather does one find a snatch of
a scale here and there. Unless the student knows how
to finger these snatches of scales with the approved
fingering, his scale study is at fault. The main value of
scale study is to acquaint the hand and the brain with the
most adequate fingering so that when the playing emer¬
gency comes in a piece the hand will naturally spring to
the right fingering.

“A similar process is encountered in playing the arpeg¬
gios. A certain note is taken for examination purposes,
let us say A again. The student is requested to play the
arpeggio of the major triad on A, then the minor triad,
and then the triad of which the note A is the major third
(in this instance the triad would be that of F and the
arpeggio would be played in the first inversion or 6 posi¬
tion. Next he might give the same triad with an aug¬
mented 5th, that is the triad F, A, Cl, but always start¬
ing the arpeggio with the letter A and with the correct
fingering. He would next be asked for the 6/4 chord
on A, that is the chord of which A is the fifth. This
would be the chord D, FI, A; but the student plays it
in the position of A D FI. Then would come the minor
of the same chord A D F. The following list of chords,
followed by the fingering of a few notes of the arpeggio
shows what is intended.

the etud e

Page 22b APRIL 1928

V, r *g

7 . b*.

;j! *n-J—r.>r r gjjgj

“When the pupil is directed to play the six-five chord
on A, his mind immediately reverts to the scales and
arpeggios of the key of B flat, and the fingering for that
key. It is by no means enough merely to be able to play
a scale starting or ending with the key note. The pupil
must know instantly what finger must go upon a pre¬
scribed note In the given scale. Thus A would have the
following fingers in the scales as indicated:

Scale of G — A has second finger in right hand.

Scale of A — A has thumb in right hand.

Scale of B flat — A has third finger in right hand.

Scale of C — A has third finger in right hand.

Scale of D — A has second finger in right hand.

Scale of F—A has third finger in right hand.

Scale of C — A has third finger in right hand.

“To be able to start on a given note in any key, with
the right finger and without hesitation, indicates that the
student really knows the scales thoroughly and is not
guessing at them. To do this he must know all the scales
and must have thought about them as well as practiced
them digitally at the keyboard.

Liberating the Student from Technical Restrictions

“Every Russian student in the earlier grades knows that
to proceed he must master this. It stands as a barrier
in his way until he surmounts it. It is only one of the
phases of technical drill for which the conservatories of
Russia were famous. Rapid later progress in the art of
playing the piano is in a large measure due to the fact
that one is not encumbered with the need for developing
a technic which should have been mastered in youth.

“But, you say, that is an examination in harmony as
well as keyboard technic. Unquestionably, since both
hang together. In learning the shales and arpeggios, one
absorbs a ready knowledge of keys and chords which can
hardly ever be gotten by paper examinations alone. The
mind is trained to instantaneous thinking. What is the
result? When a pupil takes up a composition of Bee¬
thoven, Schumann or Chopin, he does not have to waste
hours studying special fingerings. He knows them almost
intuitively and can give his attention to the more artistic
phases of his work.”

A Second Section of this Article will
appear in THE ETUDE for next month.
THE ETUDE has already secured confer¬
ences with a number of famous pianists,
among whom may be noted Mr. Ernest
Hutcheson, Mme. Guiomar Novaes and
Mr. Frederick Lamond, all of whom have
created new and sensational, interest in
their performances this year. ’

Practical Practice

By W. O.

Talent is largely a desire and capacity for hard work.
Worthy results are obtained only by quality put m o
practice, and not by the number of hours at the keyboar .

As in everything else, quality in practice counts, tor
the mechanism of the hand must be made supple, strong,
easy-running, and obedient to the slightest wish of the
player.

In order to develop such accessary condition, con¬
tinued attention must be devoted to scales, arpeggio play¬
ing, and to technical materials. The thumb action must
become practically automatic, because the hand should
not shift from one position to another until the thumb
is actually over its key. It then acts as a pivot on
which the hand may turn.

Octave study of every possible kind, solid and broken
chords and double intervals should receive daily attention
by the advanced player. Thus the running mechanism
of his equipment is constantly being adjusted arid
improved.

In taking up a piece for study, it is well to look over
the music without playing it, in order to form an idea
of its contents and of its music'1 and technical features.
After this survey the opening measures may be care¬
fully played, each hand alone. Always study without the
pedal at first, in order to prevent “bleary” effects; and
strive for a clear, beautiful tone. The importance of
this analytical study can scarcely be over-emphasized.

As soon as the difficulties in the separate hands have
been overcome, the parts should be played together,
always returning to separate study when uncertainty and
unclearness are noticed. At this stage, too, attention
should be directed to the construction of the phrases, etc.,
with a view to memorizing. If this is done, by the time
the piece can be played with the hands together, in a
clean, clear and rhythmically correct manner, the music
will have “stuck in” and the piece be memorized.

Forsyth

” Memorizing should begin at the beginning, phrase by
phrase, not measure by measure, so that the player can
appreciate the relationship of the different parts to th e
whole. Apply the same common sense to the memo-
rizing of music as with prose or verse, one thought at a
time, and then uniting them.

In putting together a composition so studied, attention
should be directed to any mistakes or flaws occurring
different passages. Work at these separately, until they
go with absolute smoothness and reliability. This often
requires a minute examination as to what causes the
technical imperfection. Sometimes the failure to get
even one or two notes with a comfortable fingering will
spoil the effect of an entire passage. Ha\ing found the
cause of the technical weakness, stop not till it ; s cor _
rected. If this is not done, sooner or later disaster will
ensue when undertaking the piece lie fore hearers.

A systematic fingering should be religiously followed
The fingers then become accustomed to a . retain order
and automatically go to their proper places without much
mental stimulus to guide them.

Technic must be made as perfect as possible, in order
that the artistic wishes of the composer m pianist may¬
be carried out. If the technical features the compo¬
sition lie not mastered, it never can be 11 ! smoothly

and beautifully. Aim at technical arsir .• and per¬
fection; then the “finishing touches" can l-< .filed. One
is now free to add the shading, the cfi. , . to give
attention to the use of the pedals, to con where to
accelerate or slow down, in order to o the right
emotional abandon, repose or brilliance I bis is the
most fascinating work of all, and is when refinement
and artistic taste of the performer mor- ws itself.

The most subtle emotions, the most moving ,iotis, may-

now be interpreted, because one has free from the
thraldom of teclinic.

A Teacher in Feathers

By Herbert G. Patton

About four o’clock one summer morning, I was lying
half awake, when I was attracted by the singing of a
robin. Being a lover of birds and an humble student of
ornithology, I began to listen more intently and discovered
that two were busy at one song. Soon I was astonished
to discover one bird was giving the younger a music
lesson.

My interest became so intense that I. arose and, going
to the open window I crouched low, and peeped over the
window sill. There was the older robin on a neighbor’s
chimney, but the young one was given the liberty of
perching in the branches of a tree that almost overhung
the chimney and the study of the song continued.

Being a teacher of music, I was glad to be per¬
mitted to enter the class of this teacher in feathers;
not even finding it obligatory to don a suit or comb my
disheveled auburn locks. The teacher would sing a few
notes of quite a lengthy carol, the young bird promptly
attempting to imitate it. Sometimes the effort would
be a success, and again almost foreign to the example set
Did this feathered tutor stop to chide and find fault?
Not at all. The pupil was given some liberty and after
several repetitions began to improve and to grasp the

entire song. I gained a lesson that beau- i
morning and I feel sure a percentage m
share in the benefit derived.

I remember visiting a dear aunt in one :
cities. Her daughter and a niece were
lessons of a stern master of music. Tl.
played by both of them several hours a .
addition to finger drills and technical
working on a short and beautiful classical
other tune was permitted and so exacth.
teacher that they seemed never to suit
ments. This visit was a number of v
whenever I hear that melody, written hv
greatest composers, a feeling of revulsion
me. They had played it to death and no w.
of the young ladies took much pleasure m

£oKr; ,m ' e ™-* h *- «•* »>

Jlr Her time I stayed with a fan.il,
SSr 1 - .excellent singer, who taught,

would r m,t 3 pupil ,0 si "8 a half dozen „
would begin to scold and find fault.

the great
ing piano
•nino was
Both, in

Indy. No
was their
require-
ago, but
ne of the
imes over
fi r neither
r lessons
.usiderabte

who also
'he would
es till she

“Anthems to Kill Time”

By Eugene F. Marks

Directors of church music, especially for the more
liberal denominations, should use a keen eye in selectW
their programs of music.

Observation of common practices only emphasize this
Exclusive of responses (which in most cases are ponions
of hymns) most of these churches use two anthems

Jon’tr r eS Tfi e , an ** interesting

contrasts. They may alternate, grave with gay f as ?

with slow or one introducing a solo with one entirelv
choral. But how often directors overlook this oppor-

Then, how seldom are anthems mad» t.
with the prevailing thought of the day as deHve“v
the minister. They seem, so often, to be just tossed ; 7
the service to kill time. 1 1 ‘ d lnto

When the minister gives the director no notice as
hems 3 d Je i Ct e , day ’ and the selecti °n of the an

byTn ^d^rL^tSst he

The first (being more distant from’the’Lriron) 1 'stay].

SCCMld St ' r thC - In0 ""' an '

quiet in 35 If , d ' scourst > should lx subdued
thinking. Above a lM? t0Ward * rcvcrence an<l

a service in whirl, th’ ^ approprla,c an<1 heautif
out harmoniously ?<LT' S,er a " d d ‘ rcctor have u ‘
illuminate a particu£Tfc£ a ' dmg ** ^
Certainly, to ^

which is to be s„n! rcsponse a verse of a 1
inexcusable lack r!f e " t,re latcr in the service, shov
obviated bv using other 6 * 01 ' 8 ** Th ' s easily coul

are so many Txcenlm ^ tenaI - ?. Specia,,y " hc ”

purpose. Thesi* * . Spences” published for
hymns and, conseQuent^*"' 3 degrcc higher
congregation. ** "* y are educational to the aw

missionary 0 in S, !^ ld CVer view himself as a tcacht
guide himself accordh^ ° f bettcr musir Hc sl
teners to a higher Ill ng y ’. ever striving to lead hi;
ffigher plane than normalcy.

THE ETUDE

APRIL 1928 Page 225

America’s Favorite Hymns

iXJbbrb J ' r 1 ±1 ‘ , • 1

Your pastor and your organist mil profit by this article.

A Discussion RepresepUpg the Bailee Country Reuniting Iron, 32,000 Hymn TIUcs Sent to '■The BtnOe"

“Abide with Me” Leads a Long List

The reader's action is colled ,0 ,ke nee solo arrangement of "AUde Me£ as^g by Madame GdUi Card. This arrangement «w mad. by
Mr. Homer Samuels and will be found in the Music Section of this issue.

The results were received in the following order:

Abide with Me.7301

Nearer, My God, to Thee.5490

Lead, Kindly Light.4161

Rock of Ages. 3432

Jesus, Lover of My Soul.2709

Holy, Holy, Holy, Lord God Almighty.. 1444

Just as I am, Without One Plea.875

Jesus, Saviour, Pilot Me.487

My Faith Looks up to Thee.236

All Hail the Power of Jesus’ Name. 220

Between 150 and 200
O Love That Wilt Not Let Me Go.
How Firm a Foundation.

In the Hour of Trial.

What a Friend We Have in Jesus.

I Need Thee Every Hour.

Sweet Hour of Prayer.

When I Survey the Wondroius Cross.

Between 100 and 150
He Leadeth Me.

In the Cross of Christ I Glory.

Jesus Calls Us, O’er the Tumult.

Onward, Christian Soldiers.

Guide Me, O Thou Great Jehovah.
O Mother Dear, Jerusalem.

Between 50 and 100
Will There be any Stars?

Come, Thou Almighty King.
Softly Now the Light of Day.

O Worship the King.

Now the Day is Over.

Come. Ye Disconsolate.

One Sweetly Solemn Thought.

Some months ago The Etude printed an Editorial
based upon a hymn census taken a few years ago by
Dr. W. H. McMaster, pastor of Embury Methodist
Episcopal Church of Brooklyn, who now is President
of Mount Union College, Ohio. From this census
of the favorite hymns of that congregation the ten
most liked hymns were selected and were reprinted in
The Etude for February, 1922. These hymns were 1—
Abide With Me, 2—We May Not Climb the Heavenly
Steeps, 3—When I Survey the Wondrous Cross, 4—Rock
of Ages, Cleft for Me, 5—Nearer my God to Thee, 6—
Faith of Our Fathers, 7—In the Hour of Trial, 8—
Jesus, Lover of My Soul, 9—0 Love That Will Not Let
Me Go, 10—Jesus Calls us O’er the Tumult.

The response to this editorial was enormous. Over
32,000 titles were received. After this manifestation
of interest The Etude invited noted men and women
in all parts of the country to give their favorite hymns
so that many different callings could be represented.
All creeds, all sections, all kinds of people are repre¬
sented in this large census, in a manner which must
be of great value to congregations electing to hold
Hymn Services. In addition to the list and the com¬
ments from noted Americans there will also be found
“The Romance of Hymns and Tunes” prepared by Mr.

Edward Ellsworth Hipsher.

Above is the list of hymns, with the ten favorites
leading. The numbers after the hymns indicate the
number of votes received in the 32,000 submitted. In
nearly every list four hymns appeared: Abide with Me,
Nearer, My God, to Thee; Rock of Ages; and Lead,
Kindly Light.

DR. CHARLES W. ELIOT.

(President Emeritus, Harvard College
I am much obliged to you for sending me the record
of your inquiry into the favorite hymns of the readers
of The Etude. The three hymns in which your
readers show the greatest interest have been very dear
to me every since they first appeared; but my favorite
hvmns do not appear in your record at all. These are
“It Came Upon the Midnight Clear,” and “Calm on the
Listening Ear of Night” by an obscure poet named
Edmund Hamilton Sears, “Hark, the Glad Sound! the
Saviour Comes” by Philip Doddridge, “Joy to the
World! the Lord is Come” by Isaac Watts, and “Lord of
all Being, Throned Afar” by Oliver Wendell Holmes.
These five hymns do not appear at all in your record. I
am surprised by the small vote received by “Onward,
•Christian Soldiers,” and also the fact that “The_ Son of
God Goes Forth to War, a Kingly Crown to Gain” does
not appear at all. I have heretofore thought that these
two hymns were great favorites in Evangelical Protes¬
tant denominations.

I am not sure that I have any one favorite hymn; but
I am inclined to think that it is Addison’s “The Spacious
Firmament on High,” which I learnt at my father s
suggestion when I was a little boy.

Hon. HENRY VAN DYKE

(Author, Diplomat, Educator)

This list of hymns is an excellent one. All of them
except the one entitled, “Will There Be Any Stars?” were,
and still are, constantly used by me in the conduct of
Christian Service. I should add: “O Master Let Me
Walk with Thee.” “Jesus, Thou Joy of Loving Hearts.”
“O Jesus, I Have Promised to Serve Thee to the End.”
This last is the hymn with which I most frequently close
a service.

Hon. WILLIAM JENNINGS BRYAN

(Former Secretary of State)

I find that my favorite religious song comes rather
low in your list, possibly because there are two tunes,
one of which is, I think, much more suited to the words.
“One Sweetly Solemn Thought” sung to the tune with
the slowest measure is my favorite hymn.

Another song that I am fond of does not seem to be
mentioned, “I’ll Go Where .You Want Me to Go” is
one of the best of the songs of consecration.

The songs, however, which have received the largest
vote are excellent selections from the large number of
soul-stirring hymns. My father’s favorite hymn Kind
words Can Never Die” was one of the best songs fifty
years ago; it seems to have disappeared although the
value of kind words is not less to-day than it was then.

Their Favorite Hymn

George Ade— Onward, Christian Soldiers
Irving Bacheller —Dear Lord, the Father of
Mankind

Henry Ward Beecher— Jesus, Lover of My Soul
Carrie Jacobs Bond — Abide With Me
Hon. William Jennings Bryan— One Sweetly
Solemn Thought

Dr. Nicholas Murray Butler— Lead, Kindly Light
George W. Chadwick— Now the Day Is Over
Dr. Frank Crane — Abide With Me
Cyrus H. K. Curtis—(Too many to enumerate)
Bishop Warren A. Candler— Sun of my Soul
Dr. Russell H. Conwell — Rock of Ages
Hon. Chauncey M. Depew— Rock of Ages
Dr. Charles W. Eliot — It Came upon the Midnight
Clear

John Drew — Lead, Kindly Light
William E. Gladstone — Rock of Ages
Strickland Gillilan — Come, Thou Almighty King
Amelita Galli-Curci — Abide With Me
General Robert E. Lee —How Firm a Foundation
John Luther Long — Rock of Ages
Richard Le Gallienne— Lead, Kindly Light
Thurlow Lieurance —Rock of Ages
Abraham Lincoln — When I Can Read My Title
Clear

Judge Ben. B. Lindsey— Lead, Kindly Light
William McKinley— Nearer, My God, to Thee
Edwin Markham — Dies Irce
Dr. Eugene Noble — Abide With Me
Provost J. H. Penniman— Hark, Hark My Soul!
Mary Roberts Rinehart— Lead, Kindly Light
James H. Rogers — Lead, Kindly Light
Theodore Roosevelt— How Firm a Foundation
Lt. Comm. John Philip Sousa — Nearer, My God,
to Thee, in four quarter measure, for congre¬
gational singing and Gounod’s There Is a
Green Hill Far Away, for a sacred solo.

Rev. Thomas Spurgeon— There Is a Fountain
Filled with Blood
H. J. Stewart— Abide With Me
Emma Thursby — Nearer, My God, to Thee
Dr. Henry van Dyke— O Jesus, I Have Promised
Owen Wister —Lead, Kindly Light

Bishop WARREN A. CANDLER

(Methodist Church, South)

In reply to your letter of October 12th, I name the
following hymns: Keble’s hymn which begins, “Sun
of my Soul, Thou Saviour Dear,” and Charles Wesley’s
hymn which begins, “Jesus, the Name High Over All.”

With reference to the list you enclose, I would prefer
“Jesus, Lover of My Soul,” “My Faith Looks Up to
Thee,” and “Come, Thou Almighty King.”

MARY ROBERTS RINEHART
(Distinguished Author)

I love a great many hymns, but I believe that my
favorite is “Lead, Kindly Light.” It is the one hymn
that stands out from my childhood with greatest
distinctness.

MISS EMMA THURSBY

(Eminent Concert and Oratorio Soprano)

Most decidedly my favorite hymn is “Nearer, My
God to Thee.” I always loved the simple old tune. But
I must say that I felt inspired when I sang the setting
of Albert Holden to these words. The music fitted each
verse so beautifully that you could not help singing it.

DR. FRANK CRANE

(Editor, Writer, Clergyman, Mnsician)

Yours of October 18th is at hand. Your summary of
the favorite hymns is very interesting. It seems to me
that it is quite representative and I should not want
to make any substantial change in it from a personal
point of view.

EUGENE A. NOBLE

(Director .Tuilliard Musical Foundation)

In answer to your inquiry, I think the list of favorite
hymns very good. I can sing from memory all the
hymns listed except one, and that one is not worth
singing.

Favorite hymns are related to intense moods, such as
recollection of childhood, bereavement, religious awaken¬
ing, etc. They are rarely selected on the basis of either
literary or musical worth. It is agreeable to learn that
most people prefer a quiet hymn, such as “Abide with
Me,” rather than some of the sentimental vapidities
which are overworked for gain.

In most churches hymns of service are being used
rather than hymns of passive sentiment.

I have too many favorites to specify any one.

REV. S. PARKES CADMAN, D. D.

(Distinguished Clergyman and Lecturer)

The selection of favorite hymns is only fair, and
shows the need of education in hymnology. “Come,
O Thou Traveler Unknown” and “The God of
Abraham Praise” could hardly be omitted from a first
class choice. No list is complete without Bishop Ken’s
Evening Hymn, “Glory to Thee, My God, this Night. ’
My choice in order would be:

1—Rock of Ages

2. — O Love that Wilt not Let Me Go

3—O God, my Help in Ages Past

4. — Jesus, Lover of My Soul

5. —Guide me, Oh Thou Great Jehovah

£.—When I Survey the Wondrous Cross

7. —Abide with Me

8. —Lead, Kindly Light

9. — How Firm a Foundation

;0.—Come, O Thou Traveler Unknown

Page 226 APRIL 1923

GEORGE W. CHADWICK

(Director, New England Conservatory of Music)

For two reasons your query is rather difficult to
answer. First, are these hymns selected on account
of the hymns or the tunes? Second, it is so long since
I have had any 'active connection with church music
that I have not been able to follow the popular sentiment
in regard to hymns. Personally I consider “Now the
Day is Over’’ one of the most artistic expressions in
hymn music. I am also very fond of “Broad is the
Road that Leads, to Death” or “Why do we Mourn
Departed Friends," not on account of my sympathy with
the sentiments expressed, but of pride in my colonial
ancestry.

To me it is rather striking that numbers 1, 3 and 5 in
the first group are English, both words and music and
are comparatively recent additions to American Hymnals.
I also note that some of the favorite tunes by Lowell
Mason and others are not included, via., “Federal Street,
Hebron,” etc., are not included in this list, showing a
change in public sentiment during the present generation.

JAMES H. ROGERS

(Noted American Composer)

Now, about hymns: I do not find many of those I
like best in the list you sent. Those I might name
among them as appealing to me especially are:

Lead, Kindly Light

Holy! Holy! Holy ! Lord God Almighty
Come, Thou Almighty King.

Nobody has named the three that I would select as my
own favorites. To wit:

Ancient of Days (Jeffery’s tune)

For All the Saints

When Morning Gilds the Skies.

DR. HUMPHREY J. STEWART
(Official Organist, City of San Diego, California)

In reply to your enquiry relative to favorite hymns,
permit me to say that, while the list submitted certainly
includes most of those which might fairly be called
popular, yet the hymns listed are of very unequal merit.
There are two tests for a really good hymn; (1) words;
.2) music. Most of those mentioned fail in one or the
other of these conditions. Amongst those which might
be called satisfactory in both respects I would include
the following: “Abide with Me;” “Nearer, my God to
Thee;” “Lead, Kindly Light;” “Holy! Holy! Holy!”
“When I Survey the Wondrous Cross“O Worship the
King.”

Most of the others would fail to satisfy either the
poet or the musician, and possibly this is the reason they
have become popular. The class of hymn which is to
me particularly objectionable may be called the ultra-
sentimental type, such as “He Leadeth Me,” which is
merely mentioned as an example. Of course, the so-
called “Gospel Hymns” could not for a moment be
considered seriously.

_ In my opinion too much stress is laid upon the sen¬
timental side of religion in popular hymns. In every
Christian’s experience there will be times when hymns
which move us to tears may be considered appropriate,
but such conditions are exceptional and in no way form
part of our every day life. In a general way we need
hymns which set forth the joys of religion and encourage
us to make the best of life as we find it.

STRICKLAND GILLILAN

(Famous Chautauqua Lecturer)

I think you are doing a mighty big, as well as inter¬
esting, thing in ascertaining the favorite hymns of widely
separated interests and representative people. The
whole list is made up of hymns any one of which I
should have mentioned had I been naming that number
of hymns. My favorite—in so far as one who is very
fond of hymns and was raised on them can say which
special one is his “favorite”—is “Come, Thou Almighty
King.” There is a swing and a majesty to the music-
and-word combination that seems to me to make it the
ideal worshipful hymn, just as “Juanita,” with its fine
combination of genuine poetry and real music constitutes
the ideal sentimental song. I love to join with a con¬
gregation in singing it, and find my keenest church
pleasure in its rendition by a good choir or well-trained
congregation.

The Romance of Hymns and Tunes

By Edward Ellsworth Hipsher

There is sure romance in our church hymnody, ro¬
mance that is thrilling, gripping, soul-stirring. Almos
no other subject of research arouses in the disturber
of dusty tomes more really keen sensations; for we
have scarcely a well-known hymn which has not been
born of the soul travail of some sin-weary or glory-
visioned mortal.

Abide with Me

Because of ill health, Henry Francis Lyte (1793-
1847), an obscure Devonshire parson, found himself
unable to continue his pastoral work and prepared for a
southern journey. He planned a final communion ser¬
vice, though, as he wrote, “scarcely able to crawl.”
While administering the sacrament he said to his flock:
“I stand before you seasonably, as alive from the dead.”

Tearful parishioners partook of the sacred elements
he distributed. Having given a last adieu to them, he
retired to his chamber. As the evening shadows gath¬
ered he handed to a relative this immortal hymn to
which he had added music. It was his swan song; for,
but a few days later, he passed away with “Peace, joy”
on his lips.

CLERGYMEN, CHOIR LEADERS,
CHURCHMEN will find this hymn
material of immense value for hymn

The tune, Eventide, popularly associated with these
verses, is one of the few surviving compositions of Wil-
ham Henry Monk (1823-1899), in his day a well-known
Engflish, organist and composer. He taught vocal music

R j?Tr C n ege ’ 5* r Na r tionaI Trainln S College,, and
Bedford College, all of London. He was a musical
editor of several hymnals, among them the standard
Hymns, Ancient and Modern.” His last post as or
gainst was at St. Matthias Church, Stoke Newington
This hymn has a wonderful record as a soul-saving
medium It is true to the Gospel and has been a
source of comfort to multitudes in distress. It is one
of those which have a peculiar appeal to the lowly.

Nearer, My God to Thee

This hymn ranks among the best in the English
language One may safely say that it is the most wfde y
popular of all written by female hymnists. It was from
the pen of Mrs. Sarah Flower Adams (1805-1849) *
woman of fine literary taste and in later life known
for her religious zeal. wn

Because she worshipped with the Unitarians and con
tributed to their hymnals, she has been persistently

on'hi W k hem ’ *i US bringing down ™due criticism
on her best known hymn, from the orthodox. Som^
have quarreled with it because of its close adW
to the story of Jacob at Bethel. In spite of the.se ob!
jections, devout worshippers, the world over singTt w ith
their own interpretation, and are satisfied. 8
It is an incomparable lyric. The refrain «xr
My God, to Thee, Nearer to Thee ” is so or Ti’ ’
so simple and so blends with the ^ole poem a“ to
lend greatly to the lyric effectiveness. The aspiration

THE ETUDE

of the hymn is emphatic; and the climax grows with
. prse ; n triumphant upward steps.

The Lusic Bethany, is an Old English Tunc har-
monted by Lowell Mason (1792-1872), one of the best
toown of the early American musicians. He was self.
t; ° ht became director of a church chon (Medfield,
2 J sixteen and located in Boston in 1827, where
he be’ime president of the Handel and Haydn Society.
He taught classes and was the p.oneer music teacher
in the American public schools. He published many
collections of music with great financial profit.

Though lacking a distinct evangelical expression,
Nearer, My God, to Thee, is unsurpassed in popular
esteem It was the favorite of President McKinley
and he died with its strains on his lips.

Lead, Kindly Light

The popularity of this hymn is just a little baffling.
One would scarcely risk classing it as a great poem,
a great hymn or a really lyrical piece, oi English. Yet,
in spite of its many jars in rhythm, it has passages of
striking beauty. Then, a spirit pervades the poem that
lifts the darkness which oppresses those in trouble or
grief. The heart-touch of the last two lines is scarcely
equalled in our language

The poem was written by John Henry ‘ ardinal)
Newman (1801-1890). while liecalmed for week, on
a sailing vessel, in the straits of Bonafu i.. Born in
London, educated for and ordained in the 1 dish min¬
istry, he entered the Roman Catholic Church in 1845.
His celebrity rests on this production
The tune. Lux Benigna, is the compose; ,.f Rev.
John Bacchus Dykes (1823-1870), an F.nd 1 divine
and musician. Of fine scholarly attaints lie re¬
ceived the degree of Doctor of Music in I Si. I Among
his fine hymns, this one is peculiarly effecti-... 1 1 'iibtless
no small part of the popularity of the hymn is due
to the music so vividly reflecting the spirit < : • words.

The real meaning of the hymn has !><•• n object

of lively discussion. Often attacked as atli. U causc
omitting direct reference or appeal to the ! >dtv. its
spirituality is of the type which lifts the ' When
asked, in later life, to interpret the closing ' «. the

author declared them to lie the fruit of smiir dent”

state of mind; though, doubtless, they were t 1 ult of
a furtive vision of his own loved ones “lost . Aide.”

Rock of Ages

Probably the most translated of all Chri ti.ei hymns,
Rock of Ages, is now sung in almost ■ known
tongue.

u Agustus Toplady (1740-1778), the author. said:
Strange that I, who had so long sat ttndi : means

in England, should be brought nigh unto <> ' in an

obscure part of Ireland, midst a handful of ; pic met

together in a barn, and by the ministry oi ■ who
could hardly write his name.”

Neither the personality nor the works of "-her
great hymnist has inspired more divergent .pinions.
He climbs no heights; he sounds no depths * * *
his greatness is. the greatness of goodne 5 is a
fervent preacher, not a bard.” seems to I- i, sum
of these. In spite of this, Rock of Ages has , ,, him

a deeper and more inward place in millions . ■ mum
Hearts from generation to generation, than almost any
other hymnologist, not excepting Charles \Y. A
iswof mUSIC : To Eody, is by Thomas Hastings (1787-
'’ a natlve of Connecticut, and a self-taught mu-
knnwn v r an i writcr - In Ws mature rears he was

of ” d

versions -thift ° tbcr bymn ^ appeared in so many
versions— this to mitigate its Calvinism and to a,hut it to

£ge re of ,re man" tS ° f °' her Creeds ' Tt >«s been the re-
Prffice AlhT r y “ storm -‘°«cd heart. The soul of
Vic,oria ’ ,eft ,his " orld

Th P r u . ,esus > Lover' of My Soul

diSv'tr&rs s,ory scems to havc c r

scene. a d Pdmore, a participant in the

holding a^twdK 63 We . S ' ey ’ with Mr - Pil ™rc. were
tacked by a mm n j leet,ng on the common when at-
Succeedffig a i,rl t ^ “> «« lor their lives,

‘rated themselves ^ row - ‘hey pros-

Protection from n, " tbcir hands over their heads for

gathered they «t "* 8 ° f - ,he rabbfe ' As " iRh ‘

hght started bv •? m? 3 spnnfr house where, with a
Precious hymn the ", lnt ' stone - Charles composed this
y n ’ ‘he figures of which agree perfectly

(Continued on page 230 )

THE ETUDE

APRIL 1923 Page 227

Artistic Production of Octaves

The playing of many pianists is marred by insufficient
study of octaves. Without doubt this branch of piano
technic is neglected more than almost any other; there¬
fore, it is highly important that , the aspiring virtuoso
should strive to perfect himself in this point.

Young pupils whose hands are too small to span the
octave should be taught the principles that underlie
octave playing by using the stretch of a sixth. They
should also be put through a course of exercises that
will carefully stretch the hand by degrees, so as to enable
them to master the octave within a few months’ time.
Great strength is required in playing octaves; and, unless
we develop strong, supple wrists, we will be constantly
hampered by a fatigued condition, which will limit our
interpretation of octave passages such as occur in many
compositions.

The following exercises should be made part of
one’s daily study, as it has proven very helpful . in
developing strong, supple wrists, and also for increasing
the stretch between the fingers. At count one, bend the
wrist down as though the finger-tips were going to
touch the inside of the arm. At count two, bend the
wrist as far back as it will go in the opposite direction.
After having gone through eight counts of the above,
shake the arm (using eight counts) so that the hand
will flop up and down in an absolutely relaxed condition.
After the hand has been thoroughly relaxed, the stretch¬
ing of the distance between the fingers may be accom¬
plished in the following manner: For example, to
stretch the distance between the fingers of the left hand,
place the first and fifth fingers of the right hand be¬
tween the two fingers that are to be stretched and gradu¬
ally force them apart. The student should be cautioned
that more harm than good will be done if any stretching
exercises are attempted before the hand is in a perfectly
relaxed condition.

The hand should assume a vaulted position in playing
octaves, and this can be illustrated nicely by holding
a ball in the palm of the hand. In striking the octave
the fingers should maintain this curved position. This
same position applies to the unemployed fingers, with
the exception that they are held somewhat higher in order
to clear the keys. The thumbs should be curved in to¬
wards the palm and the wrist held about on a level
with the knuckles.

Firm nail joints of the fourth and fifth fingers are
required of the student; and these can be strengthened
by using the following exercise, which also will be of
some value in holding the thumb in a correct position:

Take the octave C. Criticize the thumb as to correct
position; see that the fifth finger is curved and that
while under pressure it does not cave in. Start the
metronome at about 60, and at each count increase the
pressure a little until the maximum is reached at count
ten; and then diminish gradually until you are back
to the normal weight of the hand at the twentieth count.
Go through this exercise chromatically, using the fourth
finger on the black keys. These same, principles can
also be applied with good results in strengthening indi¬
vidual fingers.

Flexible hands are needed for the proper performance
of octaves, and the exercise which follows will bring
about greater flexibility and expansion by alternately
contracting and expanding the hand:

To play the notes of ah octave accurately and clean,
the hand should be prepared in the air. A little pre¬
liminary practice of forming the hand in the air and
then testing it on the keyboard will soon enable the
student to master this important point.

By LESLIE FAIRCHILD

With the foregoing preliminary exercises well fixed in
both mind and fingers, we can begin to practice the wrist
stroke which is used in staccato and rapid octave work.
In playing an octave both notes should be struck simul¬
taneously and with the same force; this will depend on
whether both our thumb and fifth finger are projected
exactly the same length. If one finger is projected a
little less than the other that tone will be the weakest.
This same effect is brought about if our hand does not
come down square with the keyboard.

The following exercise should be practiced until a
flexible wrist stroke has been acquired. In playing black
notes the wrist adjusts itself to a slightly higher posi-

This method is called legato or syncopated pedaling,
and should be acquired by every student who desires to
obtain a beautiful singing tone.

There are various other ways of playing legato oc¬
taves, and the student should familiarize himself with
them ali, so that he can use the most suitable way for
the passage at hand. Below are given a few examples
whose study will repay the student:

Depress the key at 1; raise it at 2; depress it at 3;
raise it at 4. Play this study on each key, up to C and
back. Raise the hands from the wrists only, to the
highest possible point. Come down square on both notes.
Play this in all keys, using the fourth finger on the black
keys.

After the above exercise has been thoroughly mastered
the student should begin to work for velocity, and this
can be gained through daily practice of the exercise given
below:

The up and down stroke of the hand is gradually
diminished as the tempo increases. Change this through
many keys, using the fourth finger as in Ex. 3.

The singing tone is greatly desired in many octave
passages, and the student who desires to acquire the art
of melody playing should study closely the various ways
of producing this beautiful tone. Tone production is
rather difficult to express in cold type, so the student is
earnestly requested to be very critical of himself and
to listen attentively to the quality of every tone that he
produces.

The method of producing a rich, resonant chord, which
was described in my article, “Artistic Chord Production,”
can also be used to advantage in octave work, when the
tempo is slow enough to permit the proper movements.

Use the following example in all keys, with the fourth
finger on black key:

The first octave “C” is struck with the first and fifth
fingers, and then a change is immediately made to the
fourth. The note taken with the fourth finger is held
until the next octave is taken. In this way the top notes
of the octaves are bound together. The following method
used in the left hand binds the lower notes together:

In playing chromatic octaves the hand should be low
on white keys and higher on the black keys. When we
come to two successive white keys the hand must be
either shifted sideways or the fingers must be changed
on the first key.

This method of lowering and raising the hand will
be found in detail in Kullak’s “Preliminary School of
Octave Playing.”

When we repeatedly use the same fingers (first and
fifth) the tones can be connected in the following
manner:

The faster these octaves are played the less wrist
motion should be used. Mrs. A. M. Virgil has expressed
this idea admirably.

Slow tempo

'll rr r f m i

(t) Raise the arm With hand hanging down loosely from
the wrist, finger tips about six inches from the keys.

(2) Project the first and fifth fingers so that when the
hand descends on the keys these two projected fingers will
be the only ones to strike the keys.

(.'!) I.et the hand drop to the key board.

(1) Immediately after the octave ha" ‘ -
the wrist slightly below the knuckles.

(5) Bring a - --’ ~~

s been struck, lower

the wrist r

s first.

Another movement occurs in certain octave passages.
It is a rotary motion of the hand. Such a passage will
be found beginning with measure 84 of the Chopin
Polonaise, Opus 53.

These last two movements, lowering the wrist and
bringing it back to normal position, assure one of a re¬
laxed position of the wrist. When the above has been
thoroughly analyzed and the various motions well fixed
in mind, movements one and two, and those of three,
four and five, should be combined into one movement.
Pianissimo octaves are played in the same way, with the
exception that the hands are held closer to the keys.

The pedal aids us greatly in playing legato octaves
that are large intervals apart. In fact, only by using it
can such octaves be played legato.

Page 228 APRIL 1928

The octave “E” ■ is the starting note, and the student
will notice that throughout these passages the hand
makes a rotary motion in an anti-clockwise direction.
The elbow, shoulder and wrist acting as swivels, should
be kept in a perfectly relaxed condition in order to over¬
come any fatigued condition that will occur if the con¬
dition is otherwise.

Glissando octaves can be executed properly only by
those who have large, powerful hands. In going up the
keyboard the fifth finger is curved so that the nail glides

over the keys, while the inner edge of the thumb
presses the lower key. In coming down this P roceau
is reversed; the nail of the thumb glides over the lower
. note, while the inner edge of the fifth finger depresses
the top note. , ., .

This article is not intended to be used as a substitute
for a thorough course in octave playing. Its mam inten¬
tion is to give to the student some idea as to the require¬
ments and possibilities of octave work, and to stimulate
interest in the study of them.

Securing the Mother’s Cooperation

By Abbie Llewellyn Snoddy

When the mother realizes her responsibility in regard
to her child’s music lessons and begins to cooperate with
real interest, the teacher’s task is half done. Unfortu¬
nately, the percentage of mothers who can be relied upon
to oversee the child’s practice and uphold the teacher’s
authority, is surprisingly small. If you do not believe
it, you mothers, listen, and ask yourselves whether you
have ever used any of these stereotyped phrases: "You
will have to make Molly practice, Miss Blank,” “I can’t
make Sara practice,” or, “It is so hard to get Jane to
practice, I think I’ll let her stop awhile,’’ and so on, ad
infinitum.

“So hard to make her practice?” Of course it is hard
to make her practice, but is it not also difficult, sometimes,
to make her learn her lessons or perform her duties about
the home? Does the mother, therefore, allow the child
to stop school or give up attempting to train her in the
things that will be essential to her when she comes to
womanhood? I do not believe the child ever lived, who
did not need to be made to practice. I do not mean, of
course, that a child who dislikes music, or who never
cares to touch the piano herself for the pure joy of the
sweet sounds she can evoke, should be forced to learn
to play. Such a child will never play in any but a me¬
chanical way, and her energies should be directed into
some other channel. But I do mean that the average
child, no matter how musical, must be constantly urged
and encouraged to keep her spasmodic interest alive.
Even Beethoven, we are told, would have preferred play¬
ing childish games to practicing on the clavier — though
his father’s example is scarcely to be commended, as he
drove the boy almost to hate music, in his eagerness to
develop him into a prodigy.

“I can’t make her practice!” What a confession for
a mother! If she, who has had the training and guiding
of her child from infancy, cannot command her obe¬
dience, what possible chance is there for the teacher, who
comes in contact with the child for only one or two
short half hours each week? Perhaps some day a clever
teacher will invent a system by which she can exert a
kind of magnetic, psychological influence which will keep
the pupil practicing from lesson to lesson like a well-
oiled, well-wound piano-player, but at present there is
no force which can take the place of the mother at home,
who cooperates, enforces regularity of practice and daily
stimulates the child’s interest in music. Train your little
girl to feel her music is a real contribution to the happi¬
ness of the home. Play duets with her, and call upon
her frequently to play for friends. If other members
of the family play, or sing, encourage her to join in the

ensemble as soon as possible. Next to the hour of family
prayer should be placed the hour of family music, for
enriching family life, binding the various members to¬
gether in a common interest and generally adding to the
joy of existence. The writer knows one family, mother,
father and four children, who for years have gathered
together each evening after dinner for an hour of music.
As the children have grown up, two daughters have
learned to play the piano, a third the violin, while the
son performs on cornet and trombone, and all of them
sing well. Their music is a pleasure to friends and
neighbors as well as to themselves and who shall say
that the happy fellowship and camaraderie that abound
so freely in that home, are not caused by their mutual
love of music? Now, as always, it is the mother who
must “keep the home fires burning,” and surely there is
no better, no saner or more wholesome fuel for the fam¬
ily altar than a lively interest in music.

To this end, the mother and teacher should work to¬
gether. It is well for the mother to visit the studio occa¬
sionally and watch a lesson in progress. Or, if she has
not time for that, she may call the teacher over the tele¬
phone and have a frank chat over little Mary’s or John’s
progress. The conscientious teacher will welcome the
opportunity to keep in close touch with her.

One thing more. The mother can be of great help in
encouraging the pupil to find beauty and-worth in the
studies and pieces which the teacher selects'. If she has
had sufficient faith in a teacher to send her child to her,
she should be willing to trust her judgment in choos¬
ing material for study. A new piece is, for most students
an unfailing source of exhilaration and delight, until the
bubble of pleasure is broken by remarks from the home-
folks, which send the pupil back to the next lesson with,
“Mother doesn’t like this piece,” or “Mother just gets
up and goes out of the room whenever I begin to play
this.” No matter how carefully that piece had been se¬
lected with a view to certain technical or artistic needs,
its success is doomed from that hour.

Musical history furnishes many examples of wonder¬
ful mothers, who, by their self-sacrifice and loving am¬
bition, made possible the success of a gifted child. One
of the most charming is Mendelssohn’s mother; who her¬
self gave Felix and his sister Fanny their ’first lessons
upon the piano. Later, she sat beside them, knitting in
hand, while they practiced, to see that their time was
well spent, and by her ceaseless, untiring energy she
made of her talented children, two of the most culti¬
vated and polished figures of their generation.

Fortunate indeed, is the child who has such a mother!

Untangling Minor Scales

By Alice M. Steede

It is the common experience of teachers that even the
more musical of their pupils find difficulty in learning
the minor scales. On asking the pupil to play the scale,
so carefully gone over in the last lesson, the reply too
often is : “Oh, I got all tangled up in it and couldn’t
remember how it should go!” a statement that is only
too well borne out by the stumbling fingers; and so the
ground must be gone over again.

Teachers adopt different devices to make things easier.
The following has been found in my experience a good
working plan: First, try to impress Upon the pupil’s mind
the resemblance between the minor and its tonic major.
It is best to begin with the melodic minor, as it is identical
with the tonic, major with the exception of the third
note. When the first three notes have been played, the
pupil is told to proceed by whole tones, from note to
note until the seventh is reached, when a half tone com¬
pletes the scale.

In teaching minor scales thus, fingering is a secondary
matter, and is attended to later. To pupils who have

mastered the major scales, the fingering of the mine
presents no great difficulty.

One step more follows, and a very important one. Th
pupil is asked to play the scale in one octave and a
the same time to name the notes as they are nlavet
while the teacher writes it down in the pupil’s notebool

A h CnLTJX S , C u e 7 ’ ?’ D r ’ E ’ F shar P’ G shari

A. Come back like C major.” In this way, should th
pupil be uncertain of the scale during the week he ;

!° fl T der hd Pfessly. The notebook an b
referred to and wrong practice avoided

On one occasion I utilized the telephone to check •
pupil s practice of that bugbear among scales-the I
sharp minor. I rang her up during her practice L
and asked her to go back to the piano and nlav *
scale. I could distinctly hear the notes over the wire ^
consequently could tell her where her mistake fey A
the piano was three miles distant and the w’on A
weekly one a considerable amount of time was sa "fl
though probably the telephone was nut tn d

originally intended by Dr. Bell. 3 Use no

TUE ETUDE

Making Scales Fascinating

By C. E. Cornwell Longyear

It is not difficult to explain intervals even to young
children; and this lays a foundation for a practical
working knowledge of the scales. All beginning scale
work can be more interesting to very young folks when
taught without notes. Begin instruction directly from
the keyboard. Take middle C, for instance, and explain
what is meant by first or prime intervals of the key of C.
Explain stef), or tone, and half-step, or half-tone. Le ad
the pupils to see why the black keys are used, and how
important they are in producing whole tones. After
the prime interval is understood, and the pupil has
pointed out the prime interval in several scales, teach
each succeeding one. For drill, keys other than the first
of the scales may be used as starting points. Also,
find the intervals in the various scales. Fix the idea
of thirds, fifths, sixths and tenths thoroughly.

At this point you may give the pupil an extended
view of the scales as a whole, showing htnv they are
found by means of the intervals. Tiie major scales in
regular order may be found to tie four intervals below,
or five above the keynote of the precedim? scale be¬
ginning with C-major. To illustrate: beginning with
C-major, we can readily find the keynote of scale of
one-sharp, two-sharps, three sharps below C, G, D,
and the other keynotes respectively. Fi n lie jirime
interval, or key note of each succeeding so! the next
scale may be found. Thus G major scale I - gins four
intervals below C, and contains one sharp; i >ur inter¬
vals below G we find the prime interval . f D major
which has two sharps. This may be’ f "owed in
similar manner until all the majors in sharp
up in the preliminary view. The pupil enju>
little is given during each lesson.

Take up the majors in flats. The manner
them is just the opposite of finding the am
Five intervals from C descending, we find i the key¬
note of F major, with one flat; five from ! B-flat is
found, the prime interval of the scale of tv. ilats. Go
through the remaining major keys in like nvc u r.

- Explain the meaning of the words Major
To the pianist, Major means larger; Minor !
in major keys, then in minor and ask the p
tinguish between them. Select a hymn
then one in a minor key. Ask the pupil t
words in each. Explain how to change fro
minor. Tell how to find each of the t\v

scales’ relative minors. Let him count thu .

each time to find each relative, always begii ■ at the
keynote of the major for which the rclat;
found.

iis, if a

f finding

id Minor.
. . . Play
il to dis-

i. tice the
major to
c major

Stirring the Pupil’s Imagination

By Clair J. Velie

The stirring 0 f the imaginative powers of the pupil is
< * lef duti « of a teacher. Yet this is so often
neglected. So many pupils p l ay me rely notes and think
on ' y u ln terms of the printed page.

tdl aaS??! should tau Bht to make each composition
certain manL,/ 1 '-'!’ Each .°" c should bring into his mind
mood for 't P ' CtUrcs w h' c b will put him into the proper

tone pictured J™ p UCCnt blue - So with our musical
certain phases will n !? VC * general sombre effect, but
Each chord I" 66 * 1 3 t0Uch of hghter shading,
changing of but one dc !j 1 " ,tc coI ? r - and ,,u ’ adding or

poser, with his kno W1 Vary i,s shade. The corn-

selected these chord W Cd , ge ol ehord combination, has
tone picture iusf . S 3,1(1 woven them into a lieautiful
palette and comhinec o! art '. st sclects the colors from his

Descritbe AZ 3 finished P a ''"‘"'*

Standard Tcachinn^P * ° P' a,w Works and Stories of
especially heT P fun„l- C "’ by Edward Ba *‘er Perry, are
would *“

,or the saxophone and ;u L andlnK the g

has to literally scour tbe thousands of players, he
enough for the varied ! lr !° Untry to get P la y ers S ood
J t is one thing to nfev t P , grarns of the Sousa band.
Play it We ii y tbe sax ophone and another to

THE ETUDE

APRIL 1928 Page 229

The Mystery of Musical Inspiration

An interview with the noted composer

RUDOLF FRIML

Secured expressly for The Etude

the good fortune
composers, from
. very ingenious

_wn and whistled

people know of Frlml’s great
erious kind, of his ability as
a pianist, ana or ms exnausiive training in his art. Mr.
Friml was born December 7th, 1884, at Prague, Bohemia.
His parents were musical, but were not professionals

[Editor’s Note : Mr. Rudolf Friml t
to be one of the most successful of mod'
the standpoint of material rewards,
and highly melodic popular operas

the art. He was a pupil of the Prague Conservatory where
he studied for four years under Dvof&k anil others. He
came to America as a pianist, to tour with his fellow coun¬
tryman, Jan Kubelik, and has appeared a.
great success. He played his pianoforte e
New York Symphony Orchestra. In 1P1Z
“Firefly” was produced with immense sui
then he has written a large number of su
“High Jinks,” "Katinka,

o with

“Tumble

“Sometimes," “Gloriana,” “Kitty Darling,’

“Bibi of the Boulevarde,” “June Love” am
addition to these works Mr. Friml is kn<
different clientele by his very interesting ------

positions for piano which, because of their refined charac,^
™ 0 st valuable for instructive purposes. One of thesi
“Moondawn,” appears in The Etude for this month.

‘Blue Kitten,”

_“Cinders.” In

iml is known to a rather
ing and useful com-

Mr. Friml’s gifts i
of marvelouB and
intelligently upon

,, of improvisation are little short
feel that no one has more right to talk
e art of improvisation than he.]

th. Ini, n -hinmofnrte composition of Rudolf Friml will be found in the music section of this issue of The Etude

“For me there has always been music. I have no
idea of when I first commenced to love it, because from
my earliest conscious recollection music was as much a
part of my life as bread and butter. My father, like
many Czecho-Slovak folk, used to love to play the
zither. He had an intense fondness for music.

“When I was a very tiny boy he went out one even-
ing to purchase the winter supply of coal and wood for
the family. Our means were meagre and the- money
required for such necessary items seemed large to the
family. Father met some congenial friends, one of
whom was in possession of a very small piano such as
one sees in the early pictures of Mozart. The tempta¬
tion was too great. The coal and wood could wait, but
certainly not such a very desirable thing in the home as
a piano. Consequently he had the piano sent home,
much to the horror and disgust of my more than prac¬
tical mother who could not see her way clear to pass
through the winter with a scant supply of coal and
wood.

“That piano was my first inspiration. Little did my
father realize that he was making an investment which
some day would yield thousands and thousands of dollars
to his son. As soon as my tiny fingers could reach the
keyboard I commenced to strum upon the little old
piano with its tinkling sound and its well-worn case.
It was one of the things that I loved most, after my
father and mother. My father made vain efforts to play
upon the piano but with very little success more than
a few chords and an occasional glissando which
delighted his soul.

“When the street organs passed, I am told I listened
attentively to the tunes and was soon found picking
them out on the keyboard. This was long before I
knew anything about music. Before I realized it,
however, I was playing. Visitors came and expressed
their surprise at my progress; and somehow I was placed
under the care of a,good teacher.

“At the age of fourteen I was given a scholarship at
the Prague Conservatory where I studied piano with
Josef Jiranek and composition with Anton Dvorak for
four years. Dvorak was a very absent-minded man. He
always insisted that no one could teach composition. He
used to set tasks for me to do and then he would
criticise the form, harmonies and other features; but
he never set any formal plan of instruction. That is,
Dvorak never gave me regular instruction in harmony
or counterpoint, although I had some instruction with
other teachers.

“Dvorak seemed to feel that these theoretical branches
were natural with me. I never made any voice pro¬
gressions that seemed to him incorrect. Indeed, I have
rarely been conscious of any kind of rules in writing
anything. I never question myself ‘Is this arithmeti¬
cally right or arithmetically wrong? It cannot he right if it
sounds badly; and it cannot be wrong if it sounds good.
Of course, I realized that the ordinary way of learning
composition is to go right through years of training in
harmonic analysis and synthesis; but I am sure that
many of the great composers of the past have literally
absorbed the theory of music-harmony and counterpoint
subconsciously. Please do not think I am placing my¬
self in a class with the great masters; but it is interest¬
ing to inquire how Mozart, Schubert, Wagner and
countless others acquired their writing technic in music
when they studied amazingly short periods along the
so-called regular lines.

Absorbing Music Unconsciously

“Of course I played almost incessantly. I read the
works of the great masters over and over again.
Chopin, Mozart, Beethoven were my daily bread. Just
as one who is born in a country and brought up among
cultured people learns to speak the language intuitively
without any recourse to grammar or to rhetoric, so I
learned music in the land of music, the land of the

great masters. Mind you, I am not recommending this
course for the average student. Very few students
practice incessantly enough to become saturated with
music. Very few observe acutely as they read and
play music to study how the great masters have obtained
their effects. The student must learn to play deductively.
He must not merely play the notes. When he hears
a new effect he must immediately become inquisitive and
strive to learn how the master achieved that effect. If

RUDOLF FRIML

he has a knowledge of harmony and counterpoint he can
analyze it quicker. That is the great advantage of
these studies for those who have not been saturated
with music for years.

How Music Comes

“Of course all thinking people realize that there are
certain individuals who are more sensitive to musical
impressions than others. There is no explanation; they
are born that way. Others seek expression of their
ideas and emotions through other channels—art, litera¬
ture, architecture. To me everything translates itself
into music. Any idea, any poem, any beautiful picture
seems to affect my whole being and I am at once con¬
scious of melodies surging up within me. The ocean
moves me immensely. I feel its power at once. It is not
a question of wanting to compose. I can’t help it.
Time and again, when I have been fagged out, my
mind will catch some scene and the melodies come and I
cannot rest until I get them down on paper. Once, some
one gave me the poem of a song of the sea. I had no
though of writing it, but when I read it, I felt the
waves of music running across the staves, as it were,
and before I knew, the melody came and the song was
written.

“Pictures are another source of inspiration. Once
in Paris I happened to see the picture of a girl looking
up into the clear blue sky. The idea, the design, the

coloration, everthing at once commenced to sing in me
and I wrote a piece called Ideal.

“Melodies also come to me incessantly during im¬
provisation. One melody makes another. Indeed, I
have often gone so far as to improvise upon a recording
piano and have some of my compositions transcribed in
musical notation from the roll. This really reverses
the usual process; but it is a possibility for the com¬
poser of the future who is gifted in improvisation.
Of course, if one is not in the mood, or if one has not a
good sense of form so that the composition improvised
is balanced properly, one can waste paper faster im¬
provising on a recording piano than when writing notes
upon music paper.

Two o’clock in the Morning

“For years I have found that ideas come to me
faster and better at two o’clock in the moring than at
any other time. Then everything is quiet. There are
no street rumbles, no callers, no telephone. It is the
only time one can get solitude in the great metropolis.

I have no place to go at that hour unless I want to go
to bed. My mind is clear. Give me a clean sheaf of
music paper and a piano and I am gloriously happy.
Much of my music I write away from the piano; but I
also find at the keyboard that by playing a great deal
in a great many different styles I chance upon many
ideas which seem valuable to me. This is especially
so when I play in the dark. Often in the middle of the
night I play for hours in a room entirely without light.
The neighbors? oh, they don’t mind, because I have a
detached house on Riverside Drive where I can play
without disturbing them.

“However do not think I need a peculiar setting to
help me.compose. Many of my compositions have had
their inception on a train going sixty miles an hour.
The rhythm of the train translates itself into melodies.
Often at the seashore I take a notebook when I go in to
bathe. I hide the book and the pencil in the sand and
jot down sketches that may come to me. Again, some¬
times I wake in the mowing with my head teeming with
ideas. I always carry paper with me and put these
down at once. A good musical idea is a practical asset.

I have long since learned to value them and I endeavor
never to let one escape. They are likely to vanish like
the diamond dew on the cobweb, unless they are caught
in the trap of staff, clefs, bars and notes.

“The weather affects my musical moods. It was
sometime before I noticed this. On gloomy days _ my
music is likely to be sad or sentimental. On bright, spark¬
ling, springtime days I want to write music that dances
and plays in every measure.

Writing a Musical Comedy in Thirteen Hours

“It seems to me that all artistic expression should first
of all be spontaneous. It must be a translation of ideas
and emotions. It is conceivable that the composer who
is undertaking a prolonged work can systematically
build his great composition, measure by measure, theme
by theme; but all the great melodies, by the nature of
things, have been inspirations. Whence they come is one
of the mysteries of life. The marvel is that they come so
quickly if they come at all. Whether in a comic opera
or in oratorio, the records show that rapidity of produc¬
tion is often associated with the best known and most
enduring works. One of my comic operas,“Tumble Inn,”
was written in thirteen hours. By this I mean I had
all the tunes, all the harmonies, the figuration and
orchestration indicated. It took my copyist three weeks
to carefully work out my notes.

“Memorizing music and improvising seems to me to
be of great value in music study. The mind must be
kept saturated with music. When I came to America as
a solo pianist with Jan Kubelik, it was a part of my
contract to play his accompaniments. Once we arrived

Page 230 APRIL 1923

at a concert only to find that our accompaniments
(music) for his difficult program had been left at the
hotel in another city. I had played them a number o)

times and had unconsciously memorized them. There- . , , . ' . , , , . „ rPtt :- r though less

after 1 used no music for the purpose of accompanying, wlth the mcldents just_,related._ _ A prettier, thoug ^ ^
unless it was some new work with which I was unfami¬
liar. The effect was infinitely better.

Improvising Before Thousands

“The mind of the real musician is like a sponge; it
goes on and on absorbing music consciously or un¬
consciously all the time. It is necessary to be able to
recall a very great deal of music in order to recall
whether the melodies which come to one are original.
It has always been my conviction that by knowing a
very great deal of music and carrying of it in the brain
new ideas come from this reservoir just as new and
beautiful shapes are tossed up in a whirlpool. Improv¬
isation is a fertile source of musical originality if one
knows how to improvise. I enjoy improvising, hugely.
I have improvised before great audiences in Carnegie
Hall and found myself so lost in the outpouring of
themes and in their musical development that I forgot
the audience entirely.

“The mystery of musical inspiration is quite as
baffling to one who possesses it as to the general public.

I have no use for the false modesty which leads one to
deny a gift generally recognized. But one is no more
responsible for it than one would be for having red
hair or a prominent nose. I cannot tell where the tunes
• come from, except that I hear everything I see and feel,
in terms of music. It is a marvel to me that there are
still so many possibilities for new tunes.

“Do not think I belittle craftsmanship. One must
know how to develop melodies. Give me four notes
on different degrees of the staff and I can turn them
into a melody by the various devices known to the art
of composition. The four notes seem to take possession
of me and go on singing themselves into a melody. I
can think of no greater fun than doing this, unless it
is playing Chopin.”

How Can We Interest the Beginner ?

By Vivian G. Morgan.

How often we hear the child remark:

“I just hate practice; I hate music!”

Can you get him interested by making him feel that express

t practice, that you command him to practice ?
Have you failed to recognize the true American child?
He who has the spirit, “I am an American—I am not to
be commanded,” is sure to rebel if you demand a cer¬
tain amount of work from him. It takes more to get
results from these young nationalists than merely saying,
“Johnny, practice three hours a day and get this exactly
as I have told you.” Johnny is likely to reply, or at
least to think, “I will, if I want to.”

To achieve your end, first of all make the child love
you. If you will do this, it is but a small matter to get
him to work for you. Recently a little pupil said, “All
I live for is to be just like you, to play like you.” By
the way, this should start some of us “grown-ups” to
wearing away some of our own nails in practicing.

But back to the subject. It is safe to say that if
each member of my class were questioned, each answer
would be practically the same. So the first step is to
open the door to the child’s heart. Then study his
method of expressing himself. Be a child with him.
Just remember when you said a few naughty words
about the keyboard. Sympathize with him sufficiently,
but not too much. Lead him to see the beautiful side of
music. Then further the purpose by giving contests
at the end of certain periods. Arrange different little
affairs that children enjoy. Have one to play and let
each of the others give an opinion of the piece and its
interpretation. At each meeting different pupils will
play, from memory if possible.

Let pupils feel that they are accomplishing some¬
thing. And, for goodness’ sake, give no “ugly” pieces
at first. There are pieces—suitable pieces—which will
appeal to every child. So make it a point to give them
pieces in which they will delight. And last, but not
least, keep at heart the interest of the child instead of
the dollar. Then both his and your success are assured.

The Romance of Hymns and Tunes

(Continued from page 226.)

reliable story is that Charles Wesley was sitting by
window when a small bird sought refuge from a pui
suing hawk by hiding in the folds of his coat. _
Charles Wesley (1708-1788), born at Epworth, Lin¬
colnshire, was the youngest of nineteen children. A
eighteen he entered Oxford, was later ordained into the
English priesthood, and in 1735 accompanied his brother
John on a missionary journey to Georgia. Returning
to England, he fell under the influence of a devout Mo¬
ravian, received the blessed assurance of pardoned sins,
and in connection with his evangelistic work became a
prolific hymn writer, in all producing more than six
thousand. Time has divided first honors between him
and Isaac Watts as writers of English hymns. ^

The music, Martyn, best known in association with
these words, is by Simeon B. Marsh (1834- ), who

seems to have left no further record in musical annals.

“A hymn for the distressed and for the sinner,” it
has been described also as “ painfully materialistic for
a hymn sacred to an. ideal religion.” Again, “the one
central, all-pervading idea of this matchless liymn ' s
the soul’s yearning for its Saviour;” and none has
oftener .passed the lips of man.

Holy ! Holy 1 Holy! Lord God Almighty!

This great hymn of adoration' is at least the most
lofty in sentiment of all the fine products of the pen
of Bishop Heber (1783-1826). Born into a home of
wealth and learning, Reginald Heber enjoyed every ad¬
vantage in training and culture. After making a brilliant
record at Oxford, he was ordained to the ministry and
rose to be Bishop of Calcutta. Among his many fine
lyrics is the matchless missionary hymn, From Green¬
land’s Icy Mountains.

The tune, Nicea, is one of Dykes’ most widely known.
The names of his hymn melodies were chosen, 1 for their
especial application to whatever -suggested the hymn.
Nicea takes its name from a town of Asia Minor where
the Ecumenical Council of 325 A. D. was held, at which
the doctrine of the Trinity was finally elaborated. Taken
together, the verses and music furnish a sacred song
that has no' superior.

Not appealing strongly to the emotions in the usual
interpretations of the phrases, yet this hymn moves the
finer religious feelings as do but a few "others. In its
of adoration of the Trinity and the majestv

scriptural

me etvd,

Omrcb~of Land and Sei of New York! hL mw !
where he continued to the end of life. Clt h

Dr. Hopper was the author of many hymns and wr
much for sailors, many of whom were drawn to w
services; but the first, and last two, of the original •
stanzas of this poem are his only permanent gif/j*
Christian hymnody. It was first published anonynmJ 0
in 1871 in The Sailor’s Magazine.

The music is by John Edgar Gould (1822-1875)
native of Maine who spent much of his life in pp, a
delphia. He was a successful composer of hymn tun*
and glees, and he compiled eight books of church musk
The words and music found their way into a for
gotten collection of hymns, was copied into Spirit,!',
Songs (1878) and later acknowledged by the author

Though small in quantity his legacy -

is rich in its heart searching and i
worked much among seamen; and tin
them is sung in his immortal hymn,
sea is felt in the pulse of its cadem -
ibly draws the soul into the boundk
love.

My Faith Looks Up to Thee

This touches the very zenith of A:

It combines perfection of poetic e
versal heart appeal; and hence it
Written by Ray Palmer, D.D.. t I
become an eminent Congregational
expression of the deep feelings < > f
distressed by ill health. He has said
to what I felt by writing, with little ,

I recollect I wrote them with very ti
ended the last line with tears."

The manuscript was carried in hi
some two years, till one day he met I I
who asked him for a few hymns fm
was about to publish.

The music, Olivet, is by Dr. M.v,
receiving the poem, he said to Paine
many years, and do many good :1m u -
will be best known to posterity as i
hymn.” This is already true; fi r it i
only that the writer’s name is conn •

Looks Up to Thee is known, loved
English has gone; and it has been it
tongues. It is the finest devotional h
ary and Devotional Period ( 1781) |

Hymnology.

dictation. He
,s I>el he taught
rhythm of the
and it irresist-
acean of God’s

Hymnody.
1,1 with uni-
lwpularity.
' >• later to
cr, it is an
11 soul, when
1 gave form
the stanzas,
motions, and

ket-book for
•'well Mason
iew book he

diortly after
"ii may live
I think you
thor of this
ill is medium
My Faith
u wherever
I into many
ie Mission-
of English

of inspired truth, it is Unequalled.

Just As I Am Without One Plea

“The greatest evangelistic hymn in the language” was
written by Miss Charlotte Elliott (1789-1871). Though
none of her poems has reached the celebrity of Nearer
My God, to Thee, the quantity and quality of her writ¬
ings advance her easily to first place among English
women hymn-writers.

This hymn has its history. In-1822 Dr. Caesar Malan
was visiting Miss Elliott’s father. As they sat convers¬
ing, he asked if she thought herself to be an experi¬
mental Christian. Being in very ill health, the question
made her momentarily petulant, and she retorted that
religion was a question which she did not care to discuss
Dr. Malan assured her that he would not pursue a sub"
ject unpleasant to her but that he would pray that she
might give her heart to Christ and become a useful
worker- for him.

Several days later the young lady apologized for her
abruptness confessing that his question and parting

fcSi 1 "' •** 1 * « k ™<;

“Come to him just as you are" answered Dr. Malan

Further advice opened her mind to spiritual light, and
a long life of devotion and faith began. Later becomi™
editor of Tk, 1WI, Intelligencer, ££‘533
poems were used anonymously in making up the firs
number, (1836), and among them was Jus! As I Am
Her brother, a preacher, declared that all his work had
done less good than this one hymn of his sister

I he music, Woodworth , was written h v w-h-
Bachelder Bradbury (1816-1868), .one of th^'earN
American musicians, a composer and leader of
conventions and who edited more than fifty collret 0 „!
?inn m r„„°l Wh ‘ Ch Fresh **** reached a Sf?3

All Hail the Power of Jesus' Name
Tms one of the most widely km... ! best lov,

ot all hymns, first appeared in The <, 'm/a-ine
1780. Its author was Edward Pern 1726-1792
of a long line of ministerial ancestrv mself a c

worker with John and Qutrles'' V. ' -, " Thou*
learned, witty, consecrated and indue: •: . his clai

zsxEr res,s entire,y upo:i 1 ° ,,e a,m °

First sung to the tune Miles Lane In hrubsole, th
n , am0st universally displaced In nation <
Oln Holden (1765-1844), American , ,-r, teache

ctllecion r r 0r and Pub,ishcr - first ,red in
in 170t Harmon y. Which Hold, n brought 01

that tri I m T has . tKcomc - wedded tn the won
literarv t ! popu,ar mind, the combined musical an
ThoLf r r includ «I m the one word Corona,io
held the ’bearish?° St * Xal, . ed semimou - this hymn hi
Its scrinhmf n- gcneratlons - It silences the criti
begffi wTl a ” US,0nS P,ace i» a class alone. The:
“stem of h JesseVrod” ,, ' a<1 t m ” ° n ' 5 ' to progress by *!
and others I ts an w.i C womm ’ ood and thc gal
Jesus from u Sp cn id sweep exalts thc lordship c
“th eveX,ffi; n t V nMr " i " g stars sang together” i
everlasting song” of the New Jerusalem.

The fop'b 6 0riginal “ R ° ck Ages”

ss-SS? sswa 'io°£

1,200,000 copies.

I endorse the study of elocution
for all singing. No one can realize how much simpler
and more efficient it would make the work of the singing
teacher.—L illi Lehmann.

Jesus, Saviour, Pilot Me

The beautiful nautical figures of this tmm
preparatory study reflection of the associations of the at "if* ®
Hopper, D. D„ (1818-1888), was the son of X nl
“1 °< * »ther descended "S
Huguenots. He early entered the Presbyterian ,

mmerman. < See p a ~ 22« , R,,,lt 10 us 1

well-known hvmn “mf»J >er 5 0n in a million w,m si "S s

the hymn, ami "i-if of Ages." knows the bistorj

writing of it. The JJ. r ““ k hf '' 1 anything to .it. with
ffidy. pastor In eh,. fh0 J “ f I! ” v - Aguslus

England, was "on h l^’ 1 ' ” f K, ngdon (1762-0-1) near Kri
a 'id, being over-fob " T J vaIkta t.' through Burrington Coi
shelter in the , ,J'- V n terrific thunderstorm, sol

waa raeins twr s '

Book of Ages, cleft for me
A few year, '1 h , !,lp "'-'self in Tbee."

Inscription was obiceS ■"’’‘W" ta,ll( ‘ t - hearing the folio;
In memorv of V . in *>■<• parish church of the vU

of 7h,‘ n r rk •" »”■ or<

1 Parish. Aecs. Curate ii

”* mis parish’ 1762 Vo AC “ B -' r,lrat< ' ln
beneath Whltefield mI G 4, h '’ s ‘' remains now

a Memorial Church, London.”

THE ETUDE

APRIL 1923

Page 231

From Broadway to the Pueblos

The Recorder Chats About Two Noted Musical Geniuses

THURLOW LIEURANCE AND RUDOLF FRIML

Etude readers will find Mr. Lieurance’s latest song “Ghost Pipes” and Mr. FritnVs latest pianoforte composition
“Moondawn” in the music section of this issue.

Thurlow Lieurance says that he has never had a
disagreeable experience with an American Indian; that
he has never felt at any time, with any tribe, that he has
been in the least personal danger, and that during his
years of travel and life among the different American
tribes, he has never had a penny stolen. This contra¬
dicts at first-hand some of the popular traditions about
“Poor Lo!”

In fact, the Indian is little longer to be pitied, from
the standpoint of opportunity. Many of them have
become enormously wealthy through the development of
their properties. Very few people know that we now
have in the United States Senate two men who are
half-Indian—Senator Curtis, of Kansas (Kaw parent¬
age), and Senator Owens, of Oklahoma, said to be the
richest man in Oklahoma. The latter is half-Cherokee.

Mr. Lieurance, who, together with Mrs. Lieurance
(Edna Woolley) and the flutist of the company, Mr.-
George Tack, has given concerts this season from coast
to coast with enormous success, carries with him a rare
collection of Indian flutes which lie has secured from
tribes all over the United States. A few are shown here:

Reading from left to right, the first is an Omaha alto
flute. This is remarkable because many of the leading
manufacturers of flutes are. only just now beginning to
make alto flutes. The Indians have had them for years—
possibly centuries. Like all Indian flutes, it is not
played with the instrument held horizontal to the shoul¬
ders, but is played held like a clarinet. The Omahas
are still a blanket tribe, although some of the young
men use modern dress. They are very rich, and own
in their reservation all the ground on one side of the
Missouri river from Omaha to Sioux City. They still
have their old dances. During recent years they have
been the victims of a drug beverage made from the
pyote nut, imported from Mexico. In order to partake
freely of this “within the law,” it is said that they have
organized religious cults and made the drinking of pyote
a part of the ceremonial — like sacramental wine.

The Omahas are a high-grade tribe. Flute No. 2,
however, was made by the Utes, one of the wildest
tribes in our country. They live in desolate sand hills
north of the Grand Canyon, making their livelihood
mostly by hunting. This flute is made of a piece of
gas pipe, and has a scale of only four intervals. It is
played by blowing on the rim of the flute.

The third is a Chinese flute. It has the whole-toned
scale, and’ a peculiar timbre because one of the openings
is pasted over with a piece of onion skin, giving the
instrument a tone resembling the oboe.

Flute No. 4 is of the Shoshone Tribe, and has been
made from a gun barrel. The Shoshone Tribe is a
political division of the Sioux Nation. They are Indians
of high intelligence, with big brains.

Flute No. 5 is Cheyenne. It is made of cedar. Over
the resonance chamber is a device or totem signifying
the tribe to which the Indian belonged. The Cheyennes
were great fighters, and are said to have been the only
Indians known to have charged U. S. Cavalry face to
face. Along with this, the Cheyennes are noted for
their music.

Flute No. 6 is of Kiowa origin. Its scale is a pure
whole-toned one, indicating that this tribe employed this
device centuries before Debussy ever thought of it. The
Kiowas are hunters. Their locale is Oklahoma. They
are “Government Indians.” They were great fighters
and buffalo hunters.

Flute No. 7- is of the Winnebago Tribe. The Winne-
bagos are part of the Sioux Nation. This flute was
the property of Angel De Costa, the only artist painter
of renown of the Indian race. This tribe has produced
many able people, but has been almost wiped out by
tuberculosis.

Flute No. 8 is of Pueblo origin. The Pueblo Indians,
according to Mr. Lieurance’s belief, must be of Aztec
descent. They have their altars and sacrifices, indicating
a probable connection. This flute is made of cotton¬
wood, and its intervals are so irregular that it seems to

have little direct connection with what we know as
music.

The adjoining flute (No. 9), the last in the row, also
is Pueblo.

Lieurance feels that the most musical of all the
Indians are the Sioux, who have very beautiful love
songs. The best flutists are the Cheyennes; the finest
ceremonial chants belong to the Pueblos, while the best
rhythmic dance songs are to be found among the Crows,
the Winnebagos and the Chippewas.

No one questions the authenticity of Mr. Lieurance’s
inspiration for his famous Indian songs, because of his
long intimacy with so many tribes. The Melody of
By the Waters of Minnetonka, for instance, was in¬
spired by a Sioux love song; while the melody of
Ghost Pipes, Mr. Lieurance’s latest hit, which is given
in this issue of The Etude, came from improvisations
of his own upon the Omaha flute shown herewith. The
peculiar intervals seemed' to play themselves into a
lovely theme which he was quick to put down and em¬
ploy. Sometimes Lieurance digs up a veritable' galaxy
of Indian themes, ranging from lovely plaintive melo¬
dies to powerful war and ceremonial songs. Thus, in
the American Indian Rhapsody which he wrote in col¬
laboration with Mr. Preston Ware Orem, the following
themes were used in this very effective and unusually
successful composition:

Cheyenne Flute Melody (played by John Tur¬
key Legs); Kiowa Flute Call; Sioux Love
Song; Sioux Courtship Song; Sioux Love Song
(by Frank Double-the-Horse) ; Chippewa War
Dance Song; Pueblo Ceremonial Song; Flute
Song for Spring; Crow Indian Owl Dance
Song; Sioux Scalp Dance.

Hanimerstein boasted that he wrote an opera—was it
not “Santa Maria?”—in twenty-four hours. It ran or
sailed the great white way for a short and stormy voyage.
There was some dispute among the critics as to whether
it was really music or not. No one however disputes
the musical value of the works of Rudolf Friml; and
probably no one since the time of Handel, Mozart,
Rossini and other lightning-like transcribers of notes to
the page has ever excelled Friml’s speed at composition.
He wrote one comic opera in thirteen hours. How does
he do it? Largely because his mind thinks musically
almost all of his waking hours. He can turn on the
music just as the ordinary mortal turns on the electric
light. .

Once Josef Hofmann attended one of Friml’s piano
recitals in California. The last number of the program
was a Bohemian Rhapsody. Hofmann was delighted
with it and at the end asked Friml if he. might have a
copy or a manuscript of his work.

“There isn’t any manuscript,” ejaculated Friml. “There
never has been any. I always print Bohemian Rhapsody
at the end of the programbut I have never written one.
I just think of some of the lovely old folk tunes of my
native land and start in to improvise.”

RARE INDIAN FLUTES

A better Friml story is that of the time when his
Auf Japan was produced in the Dresden Royal Opera
many years ago. The Ballet master was a Bohemian
who is now with the Metropolitan. The Ballet was
such a success that Friml secured a contract to write the
music for the annual Weinachtsm&rchen or Christmas
Pantomine, the libretto of which was much the same
each year.

One night Friml’s Bohemian friend said, “To-morrow,
Friml, we go to the opera; and you will play your
manuscript for the Committee at the stage rehearsal.
The Governor, the director and the officials are all
expecting it.”

Suddenly it came over Friml that there was no
manuscript. In fact he hadn’t given a thought to it
when there were so many delightful things to do in art-
loving Dresden. He could play all day, so why spend his
precious youth at the sordid process of putting notes
down on paper?

“But you must go,” said the friend. “You must write
something to-night. Your contract calls for it.”

“How can I?” protested Friml; “I have an ulcerated
tooth.”

“But you must come to the rehearsal,” insisted the
ballet master with an ancestral respect for the powers
that be..

Next day Friml appeared smiling blandly, before the
Committee with the announcement that he had not yet
finished the manuscript but would be glad to play parts
of it. Sitting himself at the piano in the orchestra pit,
he started to improvise the overture.

“Fein! Ausgezeichnet! Vermose 1” exclaimed the
committee in delight.

The curtain ascended upon a snow scene. Friml’s
friend put the words of the first chorus before the
young Czecho-Slovak who at that time spoke German
very indifferently and said, “Here is the opening chorus.
It is Schnesflocken (snowflakes). Let’s hear it.”
Friml saw the words for the first time but had no
hesitancy in putting, a melody to them at once. “Great F
exclaimed the committee in concert. Thus this genius
proceeded through the entire work, improvising it to
order. The following week when he came with the
manuscript the musical directer went over it carefully
and said, “The music is lovely; but somehow it seems
a little different from what you played last week,”
“Yes,” remarked Friml; “I made a few changes.”
Friml’s moods range from the Broadway musical
comedy to Concertos and Piano pieces that many of
the masters of yesterday would be proud to claim.

The Musical Harvest

By G. V. Aram

Fine Playing is the Harvest of Fine Practice.

Your teacher, who knows the value of this golden
rule, will assign your piece in plenty of time. It re¬
mains with you to practice faithfully right from the
start and thus avoid the final rush. The piece which
you read to-day for the first time may not be intended
for public performance until next year. Yet, the ex¬
cellency of next year’s performance depends upon your
application to-day, to-morrow, and each successive day
until the fatal or triumphant date of the recital.

Feverish practicing during the last few days before
a concert not only does pot -make up for past deficien¬
cies, but causes nervous strain which, when the crisis
comes, will surely deprive you of your already scant
resources. Your breaking down at to-day’s recital, if
such a dreadful thing happened, came most likely from
practicing too little last year and far too much last week.

The Hindoos, who are famous for their wonderful
memory, have a saying “You must forget- a thing seven
times before you know it.” Be sure, then, to give your¬
self plenty of time, so that your seventh forgetting does
not occur on the platform.

Above all, remember that the execution of a piece
depends less on actual practice on the piece itself than
on your general musical development. The piece is your
harvest. It should be the natural outcome of months
or years of faithful routine work, as the blossom on a
rose tree comes after months of careful pruning and
soil cultivation.

Page 282 APRIL 1928

Do You Know Your Pupil ?

By J. Lilian Vandevere

Do you ever realize, Teacher of Music, that for the one
or two hours spent with you each week, the children
spend a far greater part of their time in school, and that
you could, with profit, find out much about this school
work, analyze what you hear, and use this material in
checking up your work, your results, and the reasons for
the problems that arise ?

Do you find out what subjects in school your pupil
likes best, and the correlative tendencies in your own line
of work? Have you experimented to see if your pupils
read English easily? Do you realize that*the diffident,
slow-spoken ones read music slowly, because the inter¬
pretation of any printed symbols is to them a laborious
process? The glib talkers make good readers, but poor
memorizers.

Have you ever asked about school reports, and found
that your plodder is a shark at mathematics, but has to
be reminded of marks of expression ? The one who plays
with expression talks well, and reads music rapidly, but
seldom can be relied on to remember details or read
accurately.

Could any of your pupils use their music in the school
program, and so legitimately advertise the fact that they
are musically well taught? Have you ever asked if piano
solos are permitted on special days at school, and seen
to it that if any children played, your pupils were among
them? Can you tell if there is a school orchestra that
some older girl might accompany, or a chance to play for
marching that might be just the incentive for the boy
who is a problem? Are you sure that your pupils ask
their school teachers to attend the recitals in which they
appear? Parents often ask a teacher whose opinion they
value, to recommend some one in the musical profession.

What About Reports ?

Do you ask about reports, for your own satisfaction?
They may prove that if John can get excellent in three
subjects, good in four, and good in effort and conduct,
he can surely achieve creditable results in music with
proper work' on his part.

Do you link the great masters with their distinguished
historical contemporaries? Do gavotte and minuet call
to your pupils’ minds visions of courtly or colonial peri¬
ods? How clearly do they realize that certain solos are
typical dances or tone pictures of the countries their
geographies present? Have you shown them pictures of
peasants in native costume, ready for these dances?

Do you know exactly what hour ends school for the
day, whether it is a private school that sees its flock
departing in limousines at one-thirty, or public school,
where the eager, pent-up crowd tumbles out into the
grateful and all-too-short freedom at three-thirty? Do
you ask what are the school requirements in home work,
so that adding this to your other knowledge, you may
justly determine the amount of work to require and insist
upon?

Have you ever compared, in the privacy of your own
thoughts, the report marks given you by children of the
same age and grade, and found that the teacher at school
and yourself could unanimously take certain pupils and
thrash them soundly, to their own infinite betterment?
All your devoted efforts will not make even a passable
player of Sue who reports with the utmost composure
month after month, “I got fair for general standing,
again, same as last time.”

In the near future, credits for outside music study will
be given in High Schools, and some of the pupils with
talent and splendid capacities will be free to devote a
fair amount of time to music. They will be looking for
well-prepared and progressive teachers.

Could you define the term “project problem method,”
that is on every educator’s tongue, and apply it to your
own work?

Have you sensed the fact that public school music is
being brought to a state of coherence and inestimable
worth before undreamed, and that your pupils, accus¬
tomed to a wide-awake teacher in school and a trained
supervisor in music must not come to your studio and
find a dull, uninformed person who knows nothing of
modern pedagogy, or the pulsing world beyond the studio
door?

In an intelligent insight into the pupil’s work in school
lies a great help to your true estimate of that pupil, and
an understanding of his needs. Only when you really
know your pupil are you dealing with him fairly. That
which you can give him will enrich his whole experience,
and the broadest, quickest, best way to reach each child
must be found. Are you alert? Do you know your
pupil ?

Thurlow Lieurance

(An Authentic Biography)

Born at Oskaloosa, Iowa, March 21, 1880, father
a physician. He has no Indian ancestry. His early
training as a cornetist was in the local band. He
then studied instrumentation under Herman Bellstedt.
At the age of 18 he enlisted in the United States
Army and became a Bandmaster in the 22d Kansas
Regiment; served through the Spanish-American War :
saved $400, and went to the Cincinnati College of
Music, where he studied composition under Frank
Van der Stucken, W. S. Sterling and piano under
Ollie Dickeshied; score reading under Bellstedt and
Van der Stucken. When all his money was spent he
took a position as chorus man in Savage’s Castle
Square Opera Company at a salary of $10 a week.
During his two years with them he studied fifty dif¬
ferent operas ranging from Pinafore to Tannhamer
and from his meager saiary purchased a complete

b he had sung. Standing ji

- , - --viewed the opera at every performance.
Then he became a teacher in a small Kansas town,
lie next organized the All-American Band which
T, ay 1 f '<' n- 11 Chautauqua circuits for several seasons.
In lOOo the United States Government emn
Lieurance to make Indian records at the Crow Re
vation where his brother was a physician. His
brother married an Indian woman. He made many
.™ ar ?.. no T kept l,nder seal the National
Museum at Washington. He has made innumerable
records which are kept in a great many universities

from a n d 8cnre 0a<i f r<? ha e T j s .^ ed and mad « records
trom a score of -different tribes making prr -
stays at different places. Upon one occasion a
m which ho woo riding in the Yellowstone '

e down, throwing

of f the h coun e trv' n hUn<lreaS ° f ««« * Mint's

Training Pupils in Self-criticism

A Wise teacher docs not claim the privilege of C rif •
ing the pupils' work exclusively for herself, but tr2
her young charges to be keen and exacting i n fin 7 s
fault with their playing, so as to be able to apply ?
proper remedy wherever it may be required.

Do not our pupils often leave us with a hazy notl -
of what was wrong With the lesson? If the **
merely calls attention to faults without taking pZ/7
make her meaning clear to the pupil, or to sug gest
definite remedy, little is gained. Why not change th!
tune of: “Your lesson is very bad to-day ; you must bv in
means try to do better, and say : \V hat do you think
about your playing? Is it just as you would like it to be?
How could you improve it? What faults ought y ou to
aim to correct?” Such questions will cause the pupil to
become conscious of her faults and Mimulate her to eradi
cate them. Too many corrections at one time, however
will tend to confuse and discourage , pupil, especially
if given in a carping and fault-finding tone. 1

Thomas a’Kempis says: “If i-n-i year we rooted
out one fault, wc would soon become perfect men." Let
the music pupil apply this to hcr.seIt md if she thinks a
year too long a time for rooting out one fault, she may
set about trying to accomplish it in ..tic month. It j,
evidently true that wc cannot over, our faults unless
we are conscious of tliem; hcncc the ortance of train¬
ing in self-criticism.

Come Down to the Child’s Level

By Ada Mae Hoffrek

Mind should not be left out of t ilculations, wher
trying to teach. So many teachers • their chances ol
success on their knowledge of their : ,ject. Of course
mastery of one’s subject is very r ntial; but it is nol
the whole of a teacher's equipment
A teacher should know how her j, mind is likely
to act on a subject. Much may I li ned by trying tc
recall her own feelings when she v. , child; and this

will give the teacher a sympathy :h students. II

memories of your own childish th, and ways arc
fresh and keen, you will not have p, make much of an
effort to come down to the child’s i You will in¬
stantly see things from the point of v of the youngesl
student

The mind has its ways of taking I itrrent kinds ol
knowledge and dealing with them . ! like the body, il

has an appetite for different varietn i f.>nd at different

stages of growth. If the teacher something ol

these yvays in which the mind learn <1 what kind and
how much, she will have a better cl mi of choosing the
work suitable to each pupil.

In music, as in every other study ndi stage of dc-
v £,° pm ® nt demands its own kind of instruction. The
child of five cannot do the work of id ,,nc of ten, with
understanding, interest and enjoyment; mid neither must
you expect the child of ten to show interest or enjoy¬
ment in work that they should hay t ’ , n doing at five
ach age brings with it the opportune”, for certain kinds

of activity, and they will not interchange
It is the pupil’s point of view that counts; for it is by
, ™ ental activity that the work must lie done. The
teacher must arouse the pupil’s mind ; tor it must take H
" d llU a r ,lale that which is presented. The teacher
snouldbcable to state clearly win she teaches a certain
tat o C ;, W y , Sl,C ,cachl ' s h hi a certain way and in a ccr-
tam order. 1„ preparing a lesson she should sec clearly
lts relat 'on to past and future ones.

J5J« den ] and from a child that which it is incapable
stunhf h 31 ltS stagc of development and then call '
cS d > Cause . of failure. You arc the stupid. Jus
act^d ,?o nt ° ,ts ,evel ami remember how your own mind
acted at thts pupil’s age.

think o e fT S ' S- Lai,rie oncc said : “ft is ’ when
human being 1 T* dari " K lhing *° > ,rofcss ‘V^flie

finest. inos eoJ ’ 11 cngaged helping to form tb
viz a °5? ldex « n ' ost subtle thing known to man.
as your fj n D ° yoU I ’ ur P° sc to go on from day to day
there and • prorn I> ts - tinkering here and tinkering
e, and seeing what comes of it? Surely not.”

fresh^amTu, °L f onccntra tcd practice

dissipated "S?* 4 ' s ****** thai

tired.—E mil Sauer WUh 1,16 m ' nd stalc

APRIL 1923 Page 283

THE ETUDE

Rhythm, the Talisman in Art Song
Interpretation

An Interview Secured Expressly for THE ETUDE with

ELENA GERHARDT

Famous Art Song Interpreter

fE ditor’s Note : Elena Gcrhardt, one of the most eminent art song interpreters of the times
■mas born in Leipzig. Her teacher was Marie Hedmondt. Arthur Nikisch is given the credit of
“discovering” her and developing her great gift for singing the famous‘‘Art Songs. Her debut was
in Leipzig in 1903, Nikisch paying her the extraordinary compliment of accompanying her upon that
occasion She was engaged at once for the Grand Opera, and made sixteen appearances as Charlotte
in “Werther.” The appeal of the art song and oratorio was so great that she decided to devote her life
to that branch of musical art. Her many tours on the Continent, in England and in the United States,
have made her a great favorite, because of extremely musical and humanistic interpretations, showing
dramatic ability of the highest character and a beautiful poetic insight .]

Another very good exercise for the development of
an even tone and of tone color is the following: Do - re -
me - fa - sol,—to be sung throughout the entire range
of the voice—and these syllables are sung in such a way
that the consonants are distinct, but no more. That is,
I do not emphasize the consonants, but touch them
lightly with the vocal organs held in as relaxed a condi¬
tion as is consistent with good tone-production.

“One could talk volumes about breathing; but volumes
have already been written, so what is the use? The main
thing about breathing is to get breath control. This
comes only with almost interminable practice. One prac¬
tices until almost able to forget about the breath. The
great principle is economy. Most singers use far too
much breath. Really very little breath is needed in sing¬
ing the classics.. It is the manipulation of the breath that
counts. Beware of teachers who instruct you to breathe
in unnatural ways. Your breathing must be comfortable,
with the main support from the diaphragm.

Art Song or Opera?

“Why did I abandon an operatic career for the art
song and oratorio? Possibly because the concert plat¬
form commands and demands a kind of musicianship
which is in itself thrilling. At the conservatorium it was
necessary for me to procure a well-rounded musical edu¬
cation as well as vocal training. Therefore I studied with
the composers Hanson and Jadassohn with the idea of
mastering the essentials of the art of music as well as of
singing. Possibly it was this which interested Nikisch
when I first sang for him. He abominated triflers m the
art. One had to be thorough or nothing at all. How¬
ever, American audiences who heard that great master
conductor realized that (at the same time) there was
nothing heavy or stodgy about him. His genius was so
fine and so brilliant that every performance that came
under his electric baton was absolutely unforgetable.
His presence was an inspiration in itself; and his orches¬
tras were simply carried away by his magnetic person¬
ality. Back of all this was his wonderful musicianship.

Hurried Preparation a Farce

“But if one is to benefit from the genius of such a
man as Nikisch, one must have first of all an instrument,
and be able to play upon it. What do I mean by this?
Most would-be singers want to sing without having any
preliminary drill. They plunge right into opera arias,
art songs and oratorios as though they were the normal
material with which to make a beginning. Are you sur¬
prised when I tell you that for two whole years I was
confined almost entirely to exercises such as scales, runs,
Concone and Lutgen. Why? To gain control over my
instrument. In other words, I was making a voice. The
average student imagines that one ought to be content
with the handiwork of God in the voice that He has
given. Of course, one must have all that. But suppose
vou were presented with a $20,00(1 Stradivanus; that
would by no means make you a violinist. Nor could
vou start your violin study by playing Beethoven con¬
certos. Your Stradivarius would be worthless until you
acquired technic. Why under the sun some singers
imagine they can sing without acquiring a vocal technic
I cannot say. Most vocal technical work is altogether
too shallow and insufficient.

Dangerous to Sing Without Technic
“As a matter of fact, it is not safe to sing without a
technic. The emotions in singing are so impellmg,
so deep and so powerful that unless you have the proper
technical control, you may easily injure your voice by
over-sinring. Every vocalist who has a great deal ot
singing to do knows that the voice must be exercise
daily. I practice scales every day for at least a halt
hour. When I cease to do this my voice slips backward.

always sung very softly. Many people
do this. They exclaim, “What!

These scales

are amazed to hear ■>.! u- -— -- • . .

Do you do those trifling scales still? My only reply
is to explain that scales and similar vocalizes or<a “

vation in standing the strain. Here are *
favorite exercises. These I sing only
are most comfortable for my voice.

e my sal-
> of my
i the keys that

These are to be practiced on every vowel with F before
—like fa, fe, fi, fo, fu.

The Significance of Rhythm

“The instrumental performer is taught first of all the
importance of rhythm. Without an understanding of
rhythm no player would be accepted in any great sym¬
phony orchestra. The composers of the art songs were
all great masters. They knew that rhythm was design in
music. Schubert’s songs, for instance, can be ruined if
they are not sung with the fine rhythm which Schubert
himself must have had instinctively in his incomparable
genius. Take any Schubert song, such as The Trout,
Hark, Hark the Lark, The Wanderer, To Be Sung on
the Waters. Unless the rhythm, and by rhythm I mean
the natural swing of the musical design, is right,
the work is ruined, no matter how beautiful the voice.
Nikisch was a great stickler for this. With him a triplet
was a triplet, it was a crime to alter it in any way. Of
course, he played so rhythmically that his rhythms were
positively contagious. He used to insist that the under¬
standing of rhythm was at the basis of musicianship,
and that the singer must, first of all, study the rhythm
as a whole before attempting to interpret a new work.

Working to the Climax

“As I have said, the great satisfaction about sing¬
ing an art song is in the fact that it was written by a
master who sought to accomplish an artistic purpose and
knew just how to go about it. He worked for artistic
balance, for'beauty of melodic line and for a very
definite musical and emotional climax. One of the first
things which the singer must do, is to locate that climax
and examine the roads the composer has employed to
attain it. This being discovered, the next step is to see
that the rest of the song is subservient to that climax.
Many an interpretation is ruined in its effect upon an
audience by unduly magnifying some unimportant notes
before the real climax is reached. After study and
reflection, the student learns to paint with the voice, to
keep up the musical interest in a straight line until the
climax is attained. In practically all of the great master¬
pieces the composer has found that the musical climax
coincides with that of the poetry. Examine Schubert’s
Wanderer and his Erlking and see how astonishing this
is.' I could name dozens of such instances. In these
songs the dramatic climax comes shortly before the end,
and the audience is always held spellbound if the songs
are properly sung by an artist with skill and fine emo¬
tional feeling.

Sing from the Heart

“Notwithstanding all the artistry of the singer, the
thing that counts most is sincerity. In other words, the
great singers still sing from the heart, and always will.

The public is always most sensitive about this. It seems
to be able to detect at once whether the artist is sincere
or whether the performance is merely a stereotyped exhi¬
bition of prowess. Just be yourself, that is all.. No
matter whether you appear in London, Paris, Berlin, or
in some little provincial town, the people are, first of
all, human beings. They want to be addressed as human
beings with human feelings. This is particularly the
case with the art-song interpreter, who stands alone on
the concert platform in an evening gown without the
glamor of the theater. In opera it is somewhat different,
except in modern works. In some of the older operas
the music, the- words and the action are so artificial that
the appeal is one largely of artistry, rather than art.

“American audiences have been singularly receptive
to the art song singer. They are usually warm in their
appreciation, quick in their musical perception and inevit¬
able in their ability to discern whether the singer really ,
means what she is singing or is merely putting on for
effect. The singer who tries to fool them may do it
once; but there are no return engagements; and return
engagements tell the story of the singer’s real worth.
Americans are acquainted with the music of all modern
nations, but there is a strong love for the classics, which
is commendable. We can never hear too much of the
classics, when they are interpreted properly. The reason .
why some people profess not to like them is that they
have them inadequately rendered by singers or per¬
formers who have not had the requisite training, or ex¬
perience to appreciate their higher meaning.

The'Potency of the Classics

“There is a dignity about the classics, combined with
a feeling of richness and permanence, which is both rest¬
ful and inspiring. Look! On that wall you see a Rem¬
brandt, there is a Titian, there is a Franz Hals. These
masterly canvases were brought into life over a century
ago; but here they are as resplendent as ever in their
undying beauty. Think of all the trashy paintings that
have perished in this time. Why should we waste our
precious moments with things that are as transient as
much of the music that is heard one day and forgotten
the next, when we have literally great galleries of musical
literature costing us no more than the labor of bringing
them to life? I wish that students would consider this.
Of course, fine songs are written in each decade, which
become classics in another fifty or one hundred years.
We should sing these good contemporary songs; but let
us first of all build up our standard of musical taste by
admiration of the classics.

Mark Twain Played the Piano
The Etude in coming issues will be especially
rich in voice articles as well as piano and violin
articles. Among the most interesting is one by
Clara Clemens, (Mrs. Ossip Gabrilowitsch) re¬
lating to overcoming nervousness. It also gives
a remarkable insight to the musical inclinations
of her distinguished father “Mark Twain.”

Page 28J+

APRIL 1928

The False and the True in Musical Interpretation

By Carol Sherman

During the last fifty years of the past Century, there
arose in Germany a philosophical movement that, rush¬
ing through the musical literature of its time, made
the deep channel of much of our present day criticism.
The movement found its finest outburst in the writings
of Dr. Edward Hanslick, although it had been moving
along smoothly years before this renowned Viennese
critic came into prominence. Its tendency was destruc¬
tive to tradition and sentimentalism alike. ■ In fact, its
purpose was to deny that musicians, when composing
were assisted by any association of ideas other than
the mere musical thoughts in themselves. It contended
that music was a distinct faculty that could not well be
allied with other faculties. It announced, that pure
music should be written solely to delight the mind and
not to excite. the emotions. It assured us that when
music affected our feelings otherwise it was not the
music itself that did so but rather the ideas that custom
had taught us to associate wiith it. The blare of the
bugle, for instance, was not to be looked upon as martial
music but as music that by long association with war¬
like things raised the picture of uniformed soldiers and
battle fields in our minds the moment it was heard.

Musical Realism

Whether the Hanslick movement succeeded in estab¬
lishing a permanent basis for musical aesthetics or not,
it did much good by turning the attention of thinkers
to this weighty subject. It is quite possible that Dr.
Hanslick’s idea was more logical than that of his more
fanciful opponents; but it is nevertheless certain that
all of our composers have frequently given many indica¬
tions in their autobiographies that during periods of
fecundity they have been deeply moved by a psychic
force in which the intellect was but a part. Even our
most modern musicians of all schools have given numerous
avowals of their debt to the association of poetical ideas
during the composition of their greatest works. Wagner,
Gounod, Massenet, Dvorak, Saint-Saens, Grieg, and
countless others, agree. It would seem that in their
greatest compositions the intellect has been the mere
slave of the soul, working automatically and constantly
to express some great human experience.

It is not difficult to imagine the fervor, the delight,
the ecstasy, the mental supremacy, the enchanting oblivion
of the composer at the moment he feels the birth of an
immortal musical conception. Let him who believes
that it is a cool, calm, mental process read the auto¬
biography of Berlioz, who at times has used words to
tell his life story, with almost the same fluency with
which he used notes. Wagner’s entire musical philoso¬
phy revolves about this one point; and the indomitable
master becomes more convincing with each succeeding
page. It is true that much music has been written that
is clearly intellectual but its use is limited to a small and
exclusive circle of musical enthusiasts who can look
through the symbols into the glorious beyond.

There are those who enjoy the demonstration of a
geometrical proposition, who delight in the solution of an
algebraic problem, and can see a real beauty in the
principle of the logarithm. These mental stimuli some
psychologists tell us are almost as grossly sensual as
other less reputable pleasures that appeal to other portions
of the sensorium. Unfortunately men of ultra-technical
training are usually amazedi because others of different
mental experience fail to see the true significance of the
hieroglyphics of the mathematician. Among those of
less technical educational advantages unable to translate
the concrete symbols of higher thought, and without
the mental discipline afforded by their constant company,
there exists a tendency to look upon the ardent and ex¬
cited mathematician in much the same way in which they
would look upon a delighted child scrawling meaningless
circles in a vain attempt to write.

We are all aware that music was for centuries classed
with the mathematical studies, in University curricula.
It was a science of symbols as much as was geometry,
algebra and astronomy. Many to-day look upon much
of the music of such composers as di Lasso, Willaert,
Graun and others who contributed! to the great stream
of musical activity that found its culmination in Bach,
as little more than mere symbols wrought together
for the purpose of mental or digital exercise and simply
indicating to the cultivated listener various other musical
conceptions, much as an algebraic formula is a concise
method of expressing other quantities. It is possible
that Gounod may have had this idea in mind when he
wrote his beautiful Ave Maria over the first prelude,
by Bach. When these compositions are heard in this

light, the delight of the auditor is unsurpassaMe. Unfor-

tunately, however, to paraphrase one of t
of Descartes, in his Principles of Philosophy, me m
jority attend to notes, rather than to sounds.

False Conceptions

This very condition besetting the basal concepts of
musical interpretation has been brought into ou
day with the result of making glorious music meaningless
mockery. It is safe to assert that the great majority ot
musicians, professional and amateur, know music on y
as a mass of symbols. Let the teacher go to the piano
and after striking middle “C” point to the sign for
the note upon the printed page and then ask the ad¬
vanced pupil what the symbol means. In every case,
unless the pupil has been previously instructed, he
will respond verbally “C” Whereas the correct answer
would have been for the pupil to have made a vocal
tone corresponding to the tone already heard. The
note is the symbol of the sound and not of the other
symbol that human ingenuity has provided to connect
the sound and the musical symbol in the mind. This
is simply the besetting sin of symbolic conception with¬
out an unmistakable connection with the quantity to be
represented. Educators in all other lines of culture
are continually striving to make this fact especially
prominent. In music it has been almost entirely
neglected.

The true function of all creative art is ultimately to
assist in the elevation of human society. The joy felt
in the sense of participating in this upward movement
is none other than that ephemeral psychic condition some¬
times called artistic inspiration. We have already dwelt
upon the condition of the creator’s soul at that divine
moment when he draws an immortal work from the cru¬
cible- of his imagination. We have intimated his ecstatic
distraction when he becomes conscious that he has pro¬
duced a masterpiece that will outlive his very flesh and
bones. It is an egotism symbolized 1 but feebly in the
loftiest flights of the master-poets. Alas! Alas! with
the musician instead of a glorious fresco, a magnificent
cast, a radiant canvas or a towering cathedral, he finds
his .production encased in mere symbols, poor little notes
with now and then an indefinite written indication of
the mood of the composer. He knows that he is sending
his master-work out to a world of pretenders who will
read naught but the symbols. He knows only too well
the distinction between the false and the true musician
and prays for a means of educating posterity by which
his work may be spared oblivion.

True Expression

The true interpretation of symbols is after all the
means of determining the success or failure of an artist.
There are thousands of machines in our streets that
can successfully play the mere notes of a composition,
but they can never think the sounds. The teacher must
impress upon the pupil’s mind that notes mean music
and that with every note played the mind must think
of naught but the sound that found its source in the
composer’s soul and running through ages, like an under¬
ground river at last bursts forth to the sunlight of to¬
day, the self-same stream to which the master mind
of the creator bade farewell years and years ago. The
artist interpreter must not think of ivory keys with
levers and hammers attached. His fingers must push
down sounds not keys.

This demands technical supremacy and predicates the
necessity of memorizing. It is said upon good authorin'
that Mozart, Beethoven and Brahms have transposed
difficult piano concertos, at a moment’s notice, to suit
certain orchestral requirements. What better illustra¬
tion could we have of the absolute mastery of the true
musician. Unconfined by key he expresses music as
only the great voice of the soul can be expressed

Until the technical difficulties, whether they be of
the keyboard of the voice, violin, flute, trumpet, piano
or organ, have been mastered completely; until the prin
ciples of harmony have been firmly established; until
the aesthetic taste has been highly cultivated - until useful
historical traditions have become definitely fixed- until
all of the foregoing have become as automatic as speech
itself ; until the artist is done with artifice and conse
crated to human art, there can never exist an apn u
to that sublime moment when the new-born work tar2
forth from the composer’s soul. Until this condition
is reached the musician is a false prophet, a charlatan

torn" r>b “' ““ " ,reh - e '“>'

Behind the Scenes with Artists

By Harriette Brower
VII

Do Artists Like to Teach?

Percy Grainger is one pianist who confesses to
a liking for imparting musical knowledge to others. ]„
speaking of this branch of the artist s activities, he said;

“I enjoy teaching immensely; it is such individual work
like conducting, for it is an effort to bring out the mean!
ing of the composer through another medium, another
mentality. It is showing others how to express the idea-
and this effort makes the whole scheme even more clear
and vivid to the artist himself. A true artist-teacher
can greatly assist the student, because he is able to show
him exactly how certain effects are to be- made, provided
the pupil is sufficiently advanced to profit by such sug¬
gestions.

“As for set methods of piano technic. ] do not spe¬
cially care for them; in fact 1 avoid them. If they do
not make the pupil think for' himself. t!«-> are only an
excuse for laziness, because they do tie pupils thinking
for him. After laying a good technical foundation, the
student can acquire further technical training in the
pieces he studies. No. I am against set m!ri for technic.
If the player wants to play wit - his ban.! turned upside
down, I dare say he could do it, if he wnrked at it with
the same zeal that he does with the ai n-pted position
This is to say, I believe the artist-teacher should incul¬
cate principles of technical freedom and individuality in
every player.

The Auditory Pleasure of Good
Bowmanship

By Benj. E. Calpin

While the visual pleasure afforded l>>
linists is second only to a compn \
soldiers, let us not lose sight of that
auditory or car pleasure of bowing

A lesson with far-reaching influence m
having teacher and pupil occupy adj- >inii
they may hear but not see cat h ol
bowings. This, of course, follows a sine
“Why Bowing is Important" and you w I!
that most pupils are inclined to make
reveal a knowledge of eye pleasure
pleasure. They will say: "It looks I
orchestra bowing together" and one i- not
anything mentioned concerning either i: 1 :
flection.

A good question to start the pupil thinkim
lines is: “Can a deaf and dumb man - •
select the best violinists in a symphnm
ing a motion picture?” or “Can a blind > -

ear criticize the bowings of a violinist
of bowing is wed?”

Yes, this is true, and an inspiring n i
to your young student when he disc«*\
power to detect by ear alone the sounds , •
mgs made by his teache- in an adjoinim

«>dy of vio-
well-drilled
truth—the

l*‘ given by
"ins so that
vith various

«'ii discover
nents which
cess of ear

along these
»>d eyesight
stra by see-
with a good
1 what style

Tricking the Audience

By Sidney Bushell

The widow of Theodore Thomas recalls bis Arrani
merit for orchestra of Schumann's “Traiinicrei,” •end
With muted strings—“piano, pianissimo, pianississim
as he said. He instructed his violinists, in order to e
phasize the effect at the end. to continue drawing th
ws across the strings without making a sound. 3
audience imagined it still heard the sounds floating
to an immeasurable distance, till Thomas broke the sj
by qmetly laying down his baton.

possibly it was not very “dignified” to do such a thir
out as Mrs. Thomas relates, when her husband be?
rave Wlt . h . his orc ^ est ra, his arrangement of Scl
* x< P»*rtely dreamy little piece created such
m . lI' 1 'n' 1 ! People everywhere that it might
An rt. ,hc corncr stonc of his success,
cation h f, thm . K tllat "Theodore Thomas did in his e<
that L°VJ' C Amcrican Poi’l'v to the best in music v
a wmn / ld " 0t , ,lcs,ta,c t0 select the best movement
a symphony and play that alone.

exnres!dnn artlS | t , cmi,Ioys ,lis medium as an instrument
handW r va,u « own technical skill in
enabled ih° f u accordin B to tlie measure that he
Noyes ^ t0 espress hi >™-lf more effectively

THE ETUDE

APRIL 1923 Page 285

Musical Fads of Yesterday and To-day

Odd Musical Customs Down the Ages

By ARTHUR ELSON

As it is advisable for both author and reader to know
what any given article is about, we start with a definition
of the word “fad.” It means a “hobby, whim, craze, a
custom, or amusement, pursued with an excess of zeal.”

Under this definition, the early folksongs were perhaps
fads. When the ancient Egyptian -farmer sang the popu¬
lar ditty:

“Thresh for yourselves, O oxen,

Measures for your masters,

Measures for yourselves,”

he may have been animated by excess of zeal; particu¬
larly if the Nile floods hadn’t come just right in the pre¬
ceding year and grain was scarce. Then there were those
Hebrew acting songs, a sort of combination of camp¬
meeting and vaudeville effects, in which the children of
Israel celebrated some triumph, such as their escape
through the Red Sea or the victory over Sisera. The
first is the song of Moses and Miriam, and the^ second is
included in Judges. These were often full of a striking
vein of satire. Thus, in Exodus XIV, Moses at one point
exclaims with fierce sarcasm, “The enemy said,, ‘I will
pursue, I will overtake, I will divide the spoil.’ ” Then
follows the triumphant recital of what really occurred—
the loss of the Egyptians in the Red Sea. Similarly in
the Song of Deborah and Barak (Judges V), Sisera’s
mother is made to exclaim, “Have they not sped? Have
they not divided the prey?” Meanwhile, Sisera lies dead
with a nail in his head, and feels no further interest in
any prey. At some point in these songs the people joined
in with cheers and applause, and perhaps a short phrase
of choral effect. These songs were certainly fads if
“excess of zeal” is taken into account.

When Homer composed those ringing hexameters that
. have made him so unpopular with high-school students,
he, too, may have been a victim of a fad. From very
early times it was customary for the great leaders to have
a minstrel in their train. Homer was by no means the
only renowned poet of his time, for other minstrels, such
as Arctinus and Stasinus carried on similar continued
stories, in the form of epic poetry. Between them they
completed the Epic Cycle, dealing with the entire course
of the siege of Troy. There were eight works in this
cycle, the two by Homer (Iliad and Odyssey) being the
only ones that have been preserved.

Tone Pictures of the Greeks

In classical Greece, the most marked fad of the tonal
art was the development of program music. The large
stringed kithara, and even the smaller lyre, were often
used in the attempts at tone pictures. One well-known
instance is the effort of a musician to picture a storm by
means of the lyre. This aroused the ridicule of the wit,
Dorian, who stated, “I have heard a better tempest in a
pot of boiling water.” His criticism has come down to
us in the phrase, “A tempest in a tea-pot.” On a much
larger scale was the tone picture of Apollo’s conquest of
the Python, in which a huge orchestra gave such pictorial
effects as the hissing of the monster, the gnashing of his
teeth, and so on.

Rome had her musical fads in even more marked
fashion. The Roman fondness for the flute has been well
satirized in a story by B. F. Anstey. The hero, Duilius,
has “done the state some service” and is rewarded by
being allowed a permanent flute player. At first the
owner would strut about proudly, followed by his musi¬
cian, but finally the perpetual flute accompaniment drove
him to extreme measures.

Roman Flute Players

The Roman flute-players were well organized, and their
guild became extremely powerful by reason of its monop¬
oly in performances. At one period, when the musicians
were shut out of the Temple of Jupiter, where they had
previously been given their meals, they went on strike,
leaving Rome and proceeding to the neighboring resort
of Tibur. As no religious festival could be carried on
without ‘them, the Roman people had to placate them at
all costs. The Senate therefore sent messengers beg¬
ging the flute-players to come back. When tlie latter
proved inflexible, the resourceful messengers had a local
feast arranged, at which the recalcitrant performers were
regaled with choice Falernian and other potent wines; and
when the liquid refreshment began to show its effects,

the con»tose musicians were bundled into chariots and
drivdBfcck to the city. Their former privileges were
restoSrto them, though afterwards, on one day of
each year, they appeared in masks, to show their shame
at the inglorious way in which they were brought back.

The Gaditanian Singers

A Roman fad of imperial times consisted of the adula¬
tion given to the Gaditanian singers. These vocalists of
Gaditania (Cadiz) had the high, sweet voices found in
Southern Europe so continuously. But the singers were
less fortunate than the flute-players. Instead of having
good meals, wine, and other privileges, they were re¬
garded as slaves, and forced to preserve their voices by
the strictest hygiene and the most rigorous attention to
their physical well-being. One cannot help feeling sorry
for them; though a little of their training would do no
harm to the over-fed prima donnas and lyric tenors of
the present. , ,.

The early Christian music offered no especial oddi¬
ties. Starting with congregational singing, in which all
joined, the choir developed gradually, just as in Puritan
New England, from the grouping together of the better
singers. When Christianity became the official Roman
religion, the churches contained great organs and the
music became an important part of the service. In A. D.
400, or thereabouts, Ambrose, Bishop of Milan, system¬
atized it into four modes based on the old Greek scales,
and two centuries later Gregory the Great called for
six authentic modes, with six plagal modes derived from
them. During all this time there was no staff, and the
Romans had not even understood the principle of the
octave, having named their notes down through the whole
alphabet. The Gregorian chant must have undergone
local variations, and we find Charlemagne sending mes¬
sengers to Rome to bring back the purer style of singing.
Certainly the crude fourtlis and fifths of the Flemish
monk, Hucbald (the Organum), showed little of the calm
beauty found in whatever old Gregorian music is extant
at present. With the introduction of the Fauxbourdon
(thirds and sixths) new developments arose and popular
music began to diverge from the sacred school.

The music of the Troubadours was more than a fad.
It was a melodious popular school, as the many specimens
left to us have shown. The Troubadours had many forms
of poetry, such as the chanson, the couplet (love song),
the sixtine (six-line stanzas with the same end words in
varying order), the pastorelle, the serenade, the aubade
(morning song), the pasquinade (satirizing an enemy),
the ballad, and so on. All these had their music of more
or less fitting character. The Troubadour school even led
to comic opera, for Adam de la Hale composed Robin et
Marion, in the thirteenth century. Still earlier in that
century was composed the famous English chorus, in
canon, Sumer is icumen in. By 1325 we find Jean
de Muris, Parisian composer and writer, lamenting the
“good old days,” a complaint heard in almost every epoch.

Troubadours, Love and Music

Perhaps the “excess of zeal” of the Troubadours ap¬
peared in their love affairs, rather than in their music.
Thus William Cabestaing, in the castle of Rousillon, loved
the chatelaine Margherita. Her lord and master, discov¬
ering the affair, stabbed the troubadour, cut out his heart,
gave it to the cook to prejiarc, and had it served to his
faithless wife, who ate it under the impression that it
was a deer’s heart. When told what she had eaten she
retorted by saying that the taste was so delicious that she
would never spoil it by eating anything more. Her irate
husband then pursued her with his sword, but she jumped
from the castle walls, preferring to end her life in her
own way.

More ideal, if still rather silly, was Geoffrey Rudel’s
devotion to the Countess of Tripoli. He had never even
seen her, and when he finally landed on her shores his
excitement was so great that he died of it.

More touching was the devotion of William de la Tour,
who loved and married a beautiful girl of low degree.
When she died he had her tomb so built that he could
open it at will and he would frequently do this and con¬
verse with his dead bride as. if she were alive. Finally
he came to know that she was dead. Even then He

imagined that he could revive her if he said a sufficiently
large number of prayers, which he gallantly undertook
to do.

Most eccentric of all the Troubadours was Pierre Vidal.
Being in love with a lady named Louve de Penatier, and
Louve meaning she-wolf, he decided to adopt the role of
a he-wolf. He clad himself in a wolf skin and had his
friends hunt him with dogs, continuing the sport until he
was badly lacerated. One fails to see how this could
benefit his cause with the lady, unless she desired free
advertising.

The Jongleurs, or paid retainers of the Troubadours,
were thrown on their own resources when their masters
were decimated in the war of the Albigenses. As wan¬
dering minstrels, the Jongleurs achieved a precarious
living by playing, singing and juggling. Their popular
hurdy-gurdy (in which a wheel was rotated and strings
pressed against it) has given way to the modern hand-
organ.

Crab Canons

In the fifteenth century, the schools of counterpoint
began to develop. Dufay, Binchois, Dennstable, and
others were active before 1460, and created a school of
scientific composition. Then came the Faddists, under the
lead of Okeghem, who developed the so-called “Flemish
tricks.” They wrote crab canons, in which one voice sang
a theme forward while a second sang it backward at the
same time; they wrote puzzle canons, with cryptic direc¬
tions for the different voices, and they set so much store
on technic and so little on poetic inspiration, that they
even set the genealogy of Christ to music. A favorite
direction for canons was “out of light, darkness,” mean¬
ing that the lighter-colored hollow notes (half-notes)
were to be taken by the second voice as black (quarter)
notes. It is not surprising that these excesses led to a
reaction, culminating in Josquin des Pres. That the new
school treated technic as a means, and not an end, is
shown by Luther’s statement, “Josquin rules the notes,
while others are ruled by them.”

The great Italian festivals held at the courts of the
nobility may be regarded as fads, in the sense that men
of wealth and position were expected to provide them
for distinguished guests. These were of various sorts,
always spectacular in scenic effect, but with music varying
from contrapuntal effects to a number of attempts at
dramatic expression. Their importance lies in the fact
that opera and oratorio developed from them. For a full
account of these early dramatic experiments, the reader
is referred to W. J. Henderson’s excellent book, “Fore¬
runners of Italian Opera.”

IJarly Imitation Music

The advent of soloists on the organ, and on the primi¬
tive precursors of the piano, led to an evident demand
for little tone-pictures. These found their best expression
in the works of the great Couperin and his school, whose
program effects were always expressed in charming and
graceful music. These pictures were often full of humor.
The organist, Froberger, for example, after being
wrecked in the Channel and rescued on the English side,
wrote a tone-picture of the trip, with suggestions of
waves and seasickness and various other trials. Rameau’s
little tone-picture, “La Poule” (The Hen), can be used
to amuse.a class of pupils. It should be played first
with no title, letting each hearer record his idea of the
picture intended. Then it may be repeated with the title;
and this time the duckings will be plainly evident

A Higher Musical Taste

Modern program pieces show less of art than the early
works described above, and in many cases they descend
to the most meretricious effects. To-day public taste has
reached a higher level, but in a past generation such tonal
descriptions as The Azvakening of the Lion, vied in
popularity with the exaggerated sentiment of The
Maiden’s Prayer. A favorite form of such tone-pictures
consisted of battle pieces, and even Beethoven thought it
not beneath his dignity to compose The Battle of Vit¬
torio. Other composers celebrated Prague, Rossbach,
and various battlefields, with martial music, rattle of mus¬
ketry, boom of cannons, cries of the wounded, and other
graphic details.

TEE

Page 286 APRIL 1923

Whenever opera grew into a fad, it seems to have crys¬
tallized into conventional forms that prevented its artistic
development. Such was the case with Handel’s operas.
Their conventional arias, duos and recitatives were
molded in such a stereotyped form that one of these
operas was much like another, and none of them has
survived as stage works. Yet in their day they were ac¬
claimed with tremendous applause. The adulation given
to the singers made the prima donnas rather self-assertive,
as shown by Cuzzoni’s last-minute refusal to sing, until
Handel forced her to change her mind by threatening to
drop her from a window. The costume of the heroine
in Rodelinda was adopted throughout England as a “na¬
tional uniform of youth and beauty.” But now, though
some numbers have survived as great solos, no one ever
thinks of reviving a Handel opera, even as a curiosity.

The tragedies of Rossini and his school show the same
tendency toward artificiality, the same “writing down” to
a public standard that was rather low. The comedies of
these composers are still delightful, but in opera seria
they introduced many conventionalities that seem ridicu¬
lous at present. The soprano was always persecuted, and
often driven crazy. Whenever she lost her reason, the
madder she grew, the better she sang. The tenor was
always the hero, the bass always a villain. The music
was not intended to heighten the emotion of the words,
but consisted merely of lyrical sweetmeats. It is strange
that the composers were content with these conditions.
Rossini rose .to greater heights when Parisian standards
led him to compose William Tell, and Donizetti’s come¬
dies are masterpieces of proper musical expression. Yet
in tragedy they failed to reach any real dramatic stand¬
ards. The celebrated Sextet from Lucia may serve as
an example, the words being an outburst of tragic inten¬
sity, while the music is a mellifluous trifle that has had its
calm and peaceful measures reproduced on every hand-

Among the solo instruments, trumpet playing was quite
a fad in medieval and early modern times in Germany.
Nearly all our orchestral instruments have been improved
in recent times or have had their technic developed to
new standards. The trumpet, however, is an exception.
Trumpet passages from the time of Bach’s youth and
earlier, are of a florid brilliancy that is almost impossible
to reproduce today. Probably a smaller and more flexible
trumpet, called the Clarino, was responsible for the per¬
formance of these passages. The early prominence of the
instrument is reflected by the aria, The Trumpet Shall
Sound, in Handel’s Messiah.

A favorite custom of classical times was a contest be¬
tween two artists who alternated in performance before
the same audience. The writer has already described in

The Etude, the encounter between Handel and Scarlattb
after which the latter, who was defeated, would cross
himself devoutedly whenever Handels name w
tioned, also the proposed encounter between
Marchand, in which the latter heard the former at prac
tice, lost all hope of victory and decamped for _home. ,

In regard to the lament for the “good old times,
started by Jean de Muris, we find that this attitude has
been constantly adopted by the conservatives when pro-
testing against progress. Doubtless the Italian con ra
puntists used it in protest against the operas oi the
Florentine Camerati. At a later date, we find Benjamin
Franklin indulging in the same complaint. To-day, such
has been the progrfcss of modernism, there are few who
have not at some time seriously considered what all the
cacophony means.

Whatever the ultimate destiny of modernism may be, we
are evidently in a period of experiments. Just as the
technic of Okeghem laid a foundation for the expres¬
sive power of Josquin, so our present researches in odd
harmonic effects should ultimately place new materials
ih the hands of some future tone-master.

An Easy Way to Become a Modernist Composer

It must be confessed, however, that we have no one at
present who is a futurist master. Strauss is a logical
development from Wagner, Liszt, and a dash of the
lesser composer, Nicode. Debussy, some say, began as
a genius and ended as a talent, and in any case his deli¬
cate charm is that of the small genre picture and not the
large canvas of broad mastery. No one will be rash
enough to say that the outpourings of a Scriabine, a
Schoenberg, or a Malipiero, are the finished and crystal¬
lized products of a new school. These composers, like
many others, are (or were) still “moving, about in worlds
unrealized.” It is certainly the fashion now to try for
an advanced style, and much of modernism will thus come
under the heading of this article. So diverse are the
various modernists and so jumbled their attempts at
novelty, that the reader can easily become ■ a modernist
himself, if he wishes. Let him sit at the piano with his
eyes shut and play various random chords and runs of
his own. If he will do this with a due sense of rhythm,
we will guarantee that the result will be just as effective
as many compositions that have won attention for the
radicals. Yet one must not forget that if modernism has
become a fad, it is not wholly limited to this. It will not
only give the future genius new colors to work with, as
indicated above, but it has already enriched the present
repertoire with many works of real beauty and definite
value. From this we may. conclude that a fad is not the
worst thing in the world, and that it may sometimes lead
to real progress.

The Unthinking Pupil

By May Crawford

“The hand that follows the intellect can achieve.”
At the end of a long day, when the pupils drift before
us, one by one, do we say savagely and despairingly,
“But they have no intellect!” Then comes an uneasy
feeling when we realize that hour after hour we have
been doing most of the hard work and all of the think¬
ing, thereby dwarfing, instead of expanding, each pupil’s
thinking power.

Are you guilty? I am. But not to the same extent
as before the realization. It takes constant study of the
different personalities to determine in what way to pre¬
sent each new problem, in order to keep the mind active—
and in no other way will a pupil do satisfactory work.

After all, it is a form of laziness to do the thinking
for a pupil instead of finding ways and means of
making that particular mind do its own thinking.

Wake up! Wake up!

With you, it is only one irritation in the day’s work,
but to that young mind the consequences are far-reaching
and of life-long importance. Think of it! Stunting a
mind for life, perhaps warping a soul, because we are
too lazy to find a way to develop that mind or too
impatient to aid in its unfolding. And all the time we
are working almost beyond endurance; nevertheless, we
feel it is easier and quicker to do the thinking for them.
However, it is not so for long. Once get them started
to thinking for themselves, and progress will be more
rapid and nerves less taut.

Begin with the very tiniest child. Instead of explain¬
ing carefully and elaborately the grouping of the black
keys, ask the child to look at the keyboard and tell you
how she thinks we know one key from another, and so
on through each successive step. A child may puzzle for
some time over the difference between a whole and a
half, note, but when she discovers it she has worked out
something for herself.

With an older pupil who has never realized there is
such a thing as thinking in connection with piano play¬
ing, begin by creating interest. How? By giving some¬
thing that will not only be liked, but something that also
can be well done. The teacher cannot thrust knowledge
in an unwilling mind; so the first step is to put the
pupil’s mind in a receptive state. Study your pupil.
Does she love action? Can she feel? Is she dreamy?
Is she bubbling over with the joy of living? If the
latter, give her something bright and sparkling (Men¬
delssohn, Hunting Song; Moszkowski ,■ Madrid; Reger,
Polish Dance). For the dreamy ones there are nocturnes
and serenades (Turner, Serenade in D\>; Field, Nocturne
in Eb; Moszkowski, Serenata). When one is crying for
“jazz,” Cymbals and Castanets, by Schmoll, is often a
stepping stone. There are those who like that which is
different or odd (Rogers, Witches; Reinecke, Mountain
Sprite; Lemont, Goblin; Schytte, Mermaid). Make an
adventure of the new piece. Why begin by showing up
all the uninteresting and disagreeable points? For there
will be places the pupil will consider uninteresting, and
passages the overcoming of which will be difficult, Unless

^ V-01.V.V1 , li la. l me pupil works

each detail for himself. Explain fully how it is to
done, but let the final working out and under«tanc
be the result of his own efforts.

From these small beginnings, gradually lead him in
ligently into the realm of beauty, from which there •
be no turning back. Make him feel that life will
richer through acquiring these beautiful outpourings fi
the very depths of strong men’s souls. And to feel 1
if a composition really belongs to us it must be t?
oughly studied, thought over, loved and played into
very being It never belongs to us until it comes y
"° ^P ar , cnt .f ort and we are lost in the beauty of it
thrilled by its story.

THIS ETUDE

announcement

WILL PLEASE
THOUSANDS
Music in the Public Schools

This Series will Begin in
the Next Issue

R EALIZING the ever-
tightening bond between
the musical work in the public
school, the musical home and
theprivate music teacher, The
Etude Music Magazin e has
had under preparation for
months a series of masterly
articles written expressly for
this magazine by

America’s Foremost Public

School Music Experts

Thousands of parents, stu¬
dents and private teachers,
who have deep concern for the
best in systematic musical
progress, will want to read
these articles closely. Watch
The Etude for the coming
year for this substantial and
constructive series. Among
those who will participate are

A. J. Abbott
Walter H. Aiken
Frank A. Bench
John W. Beattie
Russell Carter
Mrs. Francis E. Clarke
Mary M. Conway
JuUa E. Crane
HoUis Dann
Peter Dykema
Will Earhart
Charles H. Farnsworth
Otto L. Fischer
George H. Cartland
Karl W. Gehrkens
Thomas L. Gibson

T. P. GlddimM
Mubellc Glenn
Edgar B. Gordon
Eugene M. Ilnhnel
Ernest 1 lesser
Harvey Worthington
Loomis
J. E. Maddy
Osborne McConathy
William W. Norton
Gertrude B. Parsons
Enoch Pearson
Thomas Tapper
Paul J. Ucavi r
Glenn H. Woods

and others representing the
Public School Music Move¬
ment from coast to coast.
Leading music supervisors
everywhere enthusiastically
appreciate the value of The
Etude in every home in scimu-
lating a larger musical interest
in the community and pro¬
viding invaluable sources for
supplementary musical in¬
struction. The new series will
dp every supervisor from
coast to coast by explaining and
stressing the importance of his
aims and activities.

tee etude

APRIL 1928 Page 287

The Teachers’ Round Table

Conducted by PROF. CLARENCE G. HAMILTON, M. A.

This department is designed to help the teacher upon questions pertaining to “How to Teach, What to Teach, etc., and not technical
problems pertaining to Musical Theory, History, etc., all of which properly belong to the Musical Questions Answered
department. Full name and address must accompany all inquiries.

The Weak Fingers

Relax! Relax! Relax!

Aside from exercises at the table and keyboard,
what can one do to improve the lifting power of
the fourth finger? The cords seem to be useless
after the finger has been raised about a quarter of
an inch. Is this not open to improvement by some
treatment of the muscles or cords? Do you believe
that a great deal o) finger practice for independence,
at a table, will eventually produce results with the
fourth and fifth equal to the second and third

and am now working on
aacmnauuiua s 0 Sharp Minor, but

find I am going to have trouble with the middle part
unless I correct a tendency to stiffen up. I have
notieed this much lately: If I try to Play ver ?
loudly or rapidly the muscles In my elbows ana
wrists stiffen, and the process becomes paintul. 1
have been advised to relax thoroughly ; I do so but
as soon as I try the part, the same thing happens
again,— Inquirer.

You broach here a .problem which claimed the atten¬
tion of most piano teachers through the greater part of
the nineteenth century—namely, how to equalize the
fingers. Schumann permanently lamed the fourth finger
of his right hand by a determined effort to raise it
higher. Machines were invented to hold the fingers in
an elevated position, and exercises for the “weak fingers”
were turned out galore.

The tendency of modern technic is, however, to train
each finger to do only what its natural limitations per¬
mit, and not to subject it to undue strain in order to
force it toward an impossible goal. According to this
principle, the burden of the work is placed primarily
upon those fingers which are most fitted to sustain it
and the less mobile fingers—particularly the fourth—are
helped, when it is necessary, by other devices.

Among these auxiliary devices are particularly two—
the free action of the hand and the rotation of the
forearm. Let me suggest means by which these may be
put into action.

Raise your forearm easily over the keyboard so that
the hand hangs down almost vertically from the wrist
toward the keys. Keep this position for a few seconds,
until you realize the perfect limpness of the hand.
Then lower the forearm until the fingers rest quietly on
the keys:

Ex. 1

while the wrist is an inch or so above the level—a
position which will insure continued freedom of the
hand. Now throw the hand and forearm from the
elbow quickly to the right, so that the fifth finger
strikes D smartly, and the hand is perpendicular above
it, with the thumb on top. Hold D for a second, and
then throw the hand quickly to the left, striking G with
the thumb. The hand should now be perpendicular in
the opposite direction, over the thumb, so that the
little finger is uppermost. Rotate again to the right,
assuming the first position, and continue rotating to
the left and right for some time, until you can do so
with the utmost ease.

Having thus practiced the forearm rotation in its
most pronounced form, you may apply it to a slow
trill between the fourth and fifth fingers, rotating to
right and left as before.

Similarly play a slow trill with the fourth and third
fingers on C and B.

After mastering the rotatory movements in this ex¬
aggerated form, the trills may be gradually quickened
and the amount of rotation decreased until the hand is
nearly quiet. The principle of rotation should still be
present, however, and the hand should throughout re¬
tain its perfect looseness from the wrist.

Similar motions should be performed by the left hand,
and with other pairs of fingers. All these exer¬
cises, by the way, may be performed on a table, al¬
though I am one of those who believes that a real
piano is the best medium on which to practice piano
technic!

I do not mean, moreover, that the above exercises
should supplant those for independence of the fingers,
such as you suggest. Only do not worry too much
about making those things equal which were created
unequal!

Only by contact with the art of foreign nations does
the art of a country gain the individual and separate life
which we call nationality—O scar Wilde.

It certainly will do you little good to relax before
playing if you fail to relax while playing. My suspicion
is that you stiffen up in playing the big chords of the
first part of the Prelude, and remain so during the
middle part.

Let’s see how this will work: Before beginning the
Prelude, hold both hands above the keyboard so that
they dangle loosely from the wrist. Then in sounding
each note or chord, relax the hand and arm instantly
when the tone is heard retaining only just enough
pressure to keep the keys down, if the notes are to be
sustained. It may even be well at first to raise the arm
above the keys, letting the hand hang loosely again for
a few seconds after each tone is sounded. Remember
that the surest way to acquire stiffness is to press hard
on the keys after they are sounded. Keep relaxed,
therefore, just as much as possible.

Now, in tackling the second part, where the right
hand plays rapid triplets, try this process, practicing at
first with the right hand alone:

Lay the hand loosely on the keys, with the upper
side of hand and arm about level. Now play the notes
slowly, giving about a second of time to each. In sound¬
ing each note, raise the finger—kept firm and curved—
a little above the key, and, as the finger descends, let the
wrist-end of the hand jump up so that the following
position is assumed: Wrist

The wrist then sinks back to its former position. You
are now using the hand touch, the essence of which is
the reaction of the hand against the wrist, as just shown.

As the speed increases, this reaction becomes less
evident, so that the upward jump of the wrist is scarcely
perceptible; but the same condition should prevail, and,
however rapidly you play, you should have a continual
sense of freedom at the wrist.

Let me caution you, too, to beware of forcing the tone.
Play softly and quietly until you are sure of the loose¬
ness of the wrist; and do not at any time play so
heavily that the wrist stiffens. Do not let any number
of f’s, double f’s or even triple f’s scare you out of
that fundamental ease and self-command which is the
attribute of the true artist.

Sight Reading Again

culty in playing third grade music in D and - J
sharps being left out. Any suggestion a- “*•"
course to pursue, or what text books to
be invaluable.—S. K.

If your pupil studies her regular work with accuracy
and care, I should not worry too much about her
sight-reading, which is merely a question of routine
practice. Give her some standard collection of moder¬
ately easy music, such as Kohler’s Sonatina Album or
Sonatinas, New and Modern (Presser edition, Nos. 49
and 271). Assign certain pages—perhaps five or six
for sight-reading each week, and insist on her playing
a section of these in perfect time, without stopping for
mistakes, each day. Also, encourage her to read duets,
and spend a part of each lesson in duet practice. She
needs daily experience and exercise, just as one dQes
when learning a foreign language.

If your pupil disregards the signature, try requiring
her to draw a circle about each note in a piece that
would be affected by it. If there are three sharps in
the signature, for instance, let her circle each F, C,
and G. In this way she will cultivate the habit of
paying proper attention to these details.

College Boys and Music

s. What can I give them of a tuneful nat
ou give me some general suggestions a
o teach boys?—M. T.

Practical music in a college furnishes many diffi¬
cult problems owing to the limited time which can be
devoted to it, and to its continual conflict with the
more deeply rooted college studies. I believe that
there is little use in attempting to teach piano to a
college student unless he is warmly interested in the
subject. Even then, it will take much tact and patience
on your part to keep up his enthusiasm.

Boys like music that is straightforward in structure
and of decided rhythm. Marches, minuets, gavottes,
and the like, come under this’ head—and nocturnes,
reveries, romances, do not. Emphasize phrase-structure
and an obvious accent on each first beat.

Also, boys like to. work out their own problems,
rather than to follow a teacher’s directions continually.
Get a boy to work out his own scheme of practice, and
he will take some interest in it. Problematic music,
too, often appeals to him, such as Bach’s Little Preludes
and Fugues and the Fifteen Two-part Inventions.

Generally, too, boys are much slower than girls in
acquiring facility of reading and technic. But don’t
be discouraged, for if a hoy once gets really started,
he will put a rhythmic pep into his performances that
will gladden your heart!

An English Educator’s Material

What

n your estimation, is the best wi

beginners? Do you
by Matthay? I have

pianoforte touch, especially t
recommend Child’s First Steps, b

become interested in Matthay’s. .. . -- -

given them some study. In the case of young chil¬
dren, to begin with the larger (arm) movements and
to pass gradually to the smaller (finger) -

Mr. Matthay is preeminent as a piano pedagogue,
because he has had the courage to throw overboard the
traditional lumber of piano teaching, much of which be¬
longs properly to a by-gone age, in favor of modern
scientific principles. He advocates no hard-and-fast
“method,” but is ready to accept at any time new ideas
that are founded on a rational basis.

First in importance, according to his plan, is a careful
study of the inside of the piano —and especially the
relation between hammers and strings. As the real
source of tone, this relation should determine the way
in which the keys are manipulated.

Proceeding now to the playing apparatus, he insists
primarily on the perfect relaxation of hand and arm,
because any undue muscular stiffness is a distinct detri¬
ment to playing, just as though one tried to play with
a string tied around the fingers. Having secured this
plasticity, he proceeds to train specifically those muscles
which are needed in playing. Here he distinguishes
three principal species of touch: the finger, hand and arm
touches. The first is produced by the fingers alone, and
the second by the fingers united to the hand, which is
thrown from the wrist. There are two divisions of the
third species: (1) that in which the forearm from the
elbow is the important factor, and (2), that in which the
full arm, directed by the shoulder muscles, is employed.

As an important aid in all these touches, Matthay em¬
phasizes the rotation of the forearm, from the elbow-
one of the most natural of all muscular motions, as is
evidenced in the old saying, “as easy as turning your
hand over.” Properly used, this rotation is a valuable
factor in focusing the muscular activity exactly upon
its object, and in directing the weight of hand and arm
to the best purpose.

Mr. Matthay’s work is distinctly not a beginner’s book
or instructor, but rather a twenty-one page work, largely
text devoted to directions for hand shaping, touch, etc.,
and is to be used as a guide with some general method
or beginner’s book giving the regular educational material.
—Editor.

Page 238 APRIL 1923

BRIEF FACTS AND FANCIES

Do you think you know Beethoven’s
music well? Look up the word "Mando¬
line” in Grove’s Dictionary, and you will
find a piece written by Beethoven for that
instrument which you may not have heard
before. He also wrote an Adagio in E flat
for the same instrument. This mandolin
piece, by the way, might make an easy-
grade violin solo in the first position, ef¬
fective as a study piece with an accompani¬
ment for piano that is in reach of many
violin teachers.

“Concentration” is an essential in all
music study; but too much even of this is
not a good thing. We recall to mind the
case of a remarkable flute-player who de¬
voted years to acquiring technical profi¬
ciency but finally had to give up the
instrument just as he was “getting some¬
where.” He lavished so much attention
upon his flute he forgot about his teeth and
had to have them all pulled out on account
of pyorrhea.

Walking along Grant Avenue in San
Francisco’s Chinatown recently, we came
on a curio shop which displayed in the win¬
dow a leather brass-bound trunk of curious
design, labeled “Jenny Lind’s hope-chest.”
It was used by the great singer when she
passed through the city in ■ the early

The music of the sad sea-waves is likely
to have the accompaniment of a bell-quar¬
tet in future. Off St. George, Staten
Island, a new bell-buoy has been anchored.
The buoy has four bells giving a definite
chord so that it can be better located by
fog-bound mariners. The former bell-
buoys of one bell can be heard but there
are so many that sound alike that they do
not identify their locality very well.

True art ennobles any hall, and earning
in a decent way for wife and child is no
disgrace—even for an artist.—R ichard
Strauss.

MUSIC AND YOUTH

Teachers who have pupils of the so-
called “dangerous age” of adolescence
ought to be interested in the following
quotation from Professor G. Stanley
Hall’s famous book, “The Psychology of
Adolescence.” It occurs in a chapter on
the increase of sense-perceptions—hearing,
seeing, feeling, etc.—which comes as child¬
hood is left behind:

“Music, which may have been cultivated
much before, now comes to mean unutter¬
able things and acquires new interest.
Very often discords, too, become painful
to an unutterable degree, and if war, love
and religion be the three factors that have
cadenced the soul to the rhythm out of
which music was born, this is what we
should expect at this age, when the in-
greatly reinforced. Most of these new
stincts which underlie all three are so
manifestations are transient in those who
do not develop great musical power, but
even in these they are often well unfolded
for a time.

“Of SS6 young people, Lancaster found
that 464 had an increased love of music,
often amounting to a passion, which, how¬
ever, soon passed. The curve of this love
culminates at fifteen and declines rapidly
after sixteen. In many cases ‘everything
is given up to music for a year or two,
and then it is dropped.’ Some imagine
themselves great musicians and see audi¬
ences spell-bound and applauding with'
waving handkerchiefs. Some purchase in¬
struments and take lessons with enthusi¬
asm for a while, but the spell soon passes.
Young children who have been made pain¬
fully nervous by music are now filled with
rapture by it, and are sometimes easily and
deeply moved to tears. There is a new
love of rhythm and of melody, a high
sense of the possibilities of music as a
means of expression, delight in opera,
etc.”

The Musical Scrap Book

Anything and Everything, as Long as it is Instructive
and Interesting

Conducted by A. S. GARBETT

HOW MANY DO YOU KNOW?

Following a performance of Saint-Saens'
Carnaval des Animaux, by the New York
Symphony Orchestra, Mr. Richard Aldrich
wrote an erudite article on bird-calls and
other animal-sounds suggested in music,
which was published in the New York
Times. How many such pieces can you
call to mind ? Omitting the historically re¬
mote, here are some of those Mr. Aldrich
mentions. Are you acquainted with

Claude Daquin's Coucouf

id the cock In Bach’s clavier

. The cuckoo and t

Pastoral Symphony!

The cuckoo calls in the s<
dinck’s Hansel und Gretel!

ckoo in Mahler’s First Symphony!
n in Rameau’s La Poule!

The hen ii_

The suggestion of the cock-crow
tion of The Evangelist’s '

E Peter, in Bach's Matthew Pas-

Strauss’ Salome!

The trilling nightingale in Couperin’s Le
Rossignol en Amour!

The numerous nightingales and other birds in
Handel's operas and oratorios, including
Binaldo, IS Allegro, and Joshua!

The “mysoli” bird (whatever that is), in the
air Charmant oiseau, from David’s La

The bird—species unknown—that warbles
Th^r^rr^cMfSings in Pagli-

™e ”of ”p r «?if Ltofr symphonic
The 0 Tack f as t s ha in la Mendelssohn's Midsummer
The'flock of‘sheep™ Strauss’ Don Quixote!
The toad and the snake in Wagner s ««■
gold, when Alherkh “shows off to Wotan
and Dope—and of course, Faftier, the dra-

HnndeVs Israel

hop and flies that buzz l

There are of course many others, and
even Mr. Aldrich omits some famous ones
■—the lark in Schubert’s Hark! Hark! the
Lark!', the fiery, fiery horses in Mendels¬
sohn’s Elijah ; whole flocks of larks, night-
ngales and thrushes in our popular ballads;
the gold fish in one of Debussy’s pieces.
But the above are enough to go on with. I f
anybody wants to know about the “mysoli”
bird in David’s Perle de Brest!, our guess
is that it is to be found only in the “man-
zanilla tree,” which flourishes exclusively
in Meyerbeer’s L’Africaine.

LLOYD GEORGE AS HYMNOLOGIST

It must not be forgotten that the oldest
example of secular part writing is the Eng¬
lish Sumer is icumen in, and a lifelong
search for similar manuscripts on the part
of Richard Terry—now “Sir” Richard—
has unearthed many valuable additions, and
earned the former Doctor Terry, organist
of Westminster Cathedral (Roman Catho¬
lic), his knighthood. His recognition, how¬
ever, is in part due to a long-sustained
friendship with Mr. David Lloyd George,
the volatile and versatile ex-Premier of
England.

Writing of this in the London Graphic,
Mr. Hannen Swaffer tells us that “it was
twenty years ago, or thereabouts, that Terry
and Lloyd George first met. Members of
a house-party in far-away Northumberland,
they started to talk about church-music and
the conversation naturally drifted to old
Welsh hymn tunes, concerning which Terry
discovered, much to his surprise, David
Lloyd George was an authority. The old
Welsh folksongs had died almost like old
English music, except that they were re¬

membered by ear and sung by the people
on the hills. And Lloyd George, passion¬
ately fond of music, and a man with a
good baritone voice, had remembered from
his boyhood days all sorts of hymn tunes
no longer used in the chapels of the towns.

“So Terry and Lloyd George sang hymns,
and their friendship was cemented, a
friendship which went on unbroken despite
Lloyd George’s rise to fame. Indeed, when
tired and worn out and needing a change,
Lloyd George once had Terry as his guest
at his Welsh home, and there they sang
Welsh hymns together in the evenings.

“And Downing Street on many occa¬
sions, became a sort of sing-song, where
Dr. Terry would play while the Premier
joined in the chorus of old Welsh tunes.

“But those Downing Street concerts will
not finish there. For some years now, Mr
Lloyd George, Sir Walford Davies,’ Sir
Richard Terry and Sir Henry Hadow’have
been working on an anthology of church
hymn tunes which they will publish to¬
gether.”

THE “GRADUATION" OF ANTON RUBINSTEIN

As everybody knows, Theodor Lesche-
tizky spent some time in Petrograd, teach¬
ing at the Conservatory. Here is an
amusing experience related in his memoirs:

“The passport regulations, as everyone
knows, have always been severe in Russia.
Now Rubinstein, having no diploma from
any conservatory, was simply put down as
‘A. Rubinstein, son of a merchant.’ Strange
as it may seem, this insignificant circum¬
stance had been a serious annoyance to
the great artist. One day he said to some
of his friends, professors at the Conserva¬
tory : ‘Please look at this abominable thing,
my passport. Could anything be worse?
Gentlemen, give me an artist’s certificate.’

“Highly amused, we nevertheless pre¬
tended to take the matter seriously, and
informed our world-celebrated comrade
that if he wanted a certificate he must earn
it, as others did, by taking the prescribed
examinations. So we all assembled in the

’ rtuDinstein, r
without mock tremulousness, went throu,
he ordeal. Then, after mature deliber
tion, we .decided that the certificate shoe
be awamed, and Dreyschock and I sign
the document with due pomp and sole,
mty, presentmg it to our friend.”

. Rul »nstein’s anxiety about his passne

herelies™ore?h° d - In his «"» «njj

enre witB p° a " 0,16 “"P’^sant expe,
out Of ? US -'f n passp0rt officials arisi,
™ ^ f Je 'T Ish ancestry and his unreco
mzed profession of “artist.” T-r„ „ ,

certifi nk / Ul f° f manuscri P‘ s that way-'
certificate from the official “R ova l c’n

to7h f -r bab,y l00ked *"°re imp<2

kn„„„^ 4 ““ *>”• hi * <*'

WAGNER’S VIEWS ON “FAME"

Immortality in music comes to so f ew
of us that it is almost comforting to lear n
that those who are certain of it have their
moments of doubt as to its value. Carl
Goldmark in his “Memoirs.” printed in the
Vienna “Ncue Freie Presse” and tran s .
lated for American readers in “The Living
Age,” gives the following curious anecdote
of Wagner which illustrates the point:

“Richard Wagner visited Austria in the
early sixties to direct his concerts. He
lived in Penzing, close to Vienna, and I
lived in the neighboring village, Unter-St.
Veit. One evening I was strolling through
the country with a book in my hand. It
was already dusk. I heard someone calling
in the distance and saw two men coming
toward me. I thought they were a trifle
jolly and sat down on a stone to let them
pass. When they came closer I recognized
Richard Wagner with one of my acquaint¬
ances. It was Wagner who was making
all the noise. He objected to the fast time
in which a chorus in " I .ohengrin" was
given in the Vienna 11 : m utation, and
was singing over the part a It should be.

“After I was Introdim r all went to
his villa, where he kept * nplaining about
his' pecuniary distress I dislike

exceedingly anything that macks of senti¬
mental posing, and it was a real sympathy
which caused me to say : ihit, my honored
master, do you find no column in the con¬
sciousness of your great la , your immor¬
tality?’

“He replied: ‘Ah, what d s that amount
to? What lias that to <ln with the case?
Cherubini lay on his death Led and he did
not like it. He didn't want to die. He
struggled against it, bewailed his approach¬
ing end. When someone v minded Berlioz
on his death-lied that he would lie immor¬
tal, he resented it and exilaimed: ‘None
of your bad jokes 1’

“After that I never tried to console the
master.” __

HOW THE MINNESINGERS LIVED

Singers who travel thousands of miles
and receive fabulous sums there are some
who do—may be interested in the follow¬
ing account of how they would have pros¬
pered in medieval time- a- Minnesingers.
This account is taken from a fascinating
volume of Old German Love Songs, by
F. C. Nicholson.

“They (the Minnesinger-') led for the
most part a restless and uncertain life, for
few of them were fortm r enough to
secure a permanent position with a wealthy
patron, and failing that, they were forced
to travel from one place to another; those
of the better class on horseback and gen¬
erally accompanied by an attendant ; those
of the lower class on foot. Their principal
halts would he made at the courts of the
nobles, where they would he likely to find
the most sympathetic audiences : indeed,
as amusements of any kind were scarce in
those days, a singer of any merit could gen¬
erally count on a welcome and would be
hospitably lodged during his stay. Before
his departure he would receive a donation
of more or less value, generally in the
form of money, jewelry or clothing.

“Of course, the professional Minnesinger,
whatever his rank, looked for material
reward, and, as a rule, demanded it with a
great deal of insistency; as liberality was
considered one of the cardinal virtues in
medieval times, he would have less scruple
in urging his audience to practice it, and in
fact such petitioning was taken quite as a
matter of course and was not looked down
upon as begging. lie might often, how-
ev 'er, remain for a considerable time ®
one place, especially during the winter,
when traveling was almost impossible and
when his art would prove doubly

acceptable.”

There is nothing worse than an obstin¬
ate adherence to fixed forms.— Richard

Strauss.

the etude

MOON DAWN

APRIL 1923 ■ Rage 239

Copyright 1923 by Theo. Presser Co.

British Copyright secured

Paoe 240

APRIL 1923

THE ETUfifi

-f4 -4

=i j j

rr~ j

W

p .-

...

-h^—3-

-"-aM-

— i

i

-C __

=H • 3 J

. ■p*

^ a __

py-F — M

4 A

- -n

H-- r

ilg

THE ETUDE

APRIL 1923

Pag e 241

JACQU ELINE

A modern Inters in rather free «W/n rhythm. The parallel linen (H) indicate a .light pan., such a. one might make in takingbreath.
Grade 4.

British Copyright secured

Copyright 1923 by Theo. Presser Co.

THE ETUDE

Page 242 APRIL 1923

GAY AND GRACEFUL

POLKA BRILLANTE

A showy polka, just right for an opening recital numbe r.

SECONDO

RICHARD FERBER

APRIL 1923

Page 243

THE ETUDE

GAY AND GRACEFUL

POLKA BRILLANTE

RICHARD FERBER

Page 244

APRIL 1923

SECONDO

THE ETUfii

A, favorite number from the set of waltzes, often heard in recitals in various arrangements, also used for aesthetic dancing.

M. M. J = 144

SECONDO

J. BRAHMS, Op. 39, No. 15

• *1

i a

l

i*

ii

j*.

r i

Pd

olce'

a

if —'

? -

rr

rr

WALTZ

J. BRAHMS, Op. 39, No. 15

PRIMO

M.M. J-144

2 1 8

^ 1 ,_4 e*

pdolce

2 1 3

4 l»—1—1

i

—.3 2

;>

5

2

;>

5—^4 -

1 1 26 |[2 1

4 f•

v -+' 0 - 7 a

3 2 1

3 ’a'—-

8 4 3

Page 246 APRIL 1923

A well-made and attractive drawing-room piece, such a one as so many

HARE BELLS

delight in playing. Grade 2^

the etude

GEORG EGGELING.Op.2i2

Men

) dteti

\ P

q mosaft-

(0*,

. 4 JT , 5 . 1 5 4 2

£ — -"’rafP

A ■ fiS

Ti_S

CJ

■— i i

jgj

Copyright 1923 by Theo..Presser Co.

International Copyright secured

Copyright 1923 by Theo.Presser Co.

British Copyright secured

THE ETUDE

JHE ETUDE

APRIL 192 3 Page 249

&

THOUGHTS AT SUNSET charles jjuerter

A baritone melody, played almosEentirelyJby the thumUof the righy>and..The legato is obtained by means of the damper pedal. Grade 4.

Moderato

molto espress.

Copyright 1922 by Theo.Presser Co,

British Copyri^it secured

THE ETUDE

rage 250 APRIL 1923

A good teaching or recital piece (not for dancing,)

VIOLETTA

VALSE PETITE

introducinga variety of less conventional

HEBERT RALPH WARD

figures. Grade 3.

the etude

APRIL 1923 Page 251

| ^CHIRMERIS ^CHOIASnCyRlES|

|

Sgjt, Most Recent Additions

0 PIANO

BILBRO, MATHILDE
( 35 ? Melodic and Technical Studies

for the Adult Beginner on the Mg

’^8 Piano (English and Spanish text) Mp*.

f W (Vol. 131). net .75 W)

Sta, DILLER (ANGELA) AND QUAILE M?

^ (ELIZABETH)

0 Third Duet Book (Vol. 106). net 1.25 iffij

PFEIFFER, AGATHA Mg

Pedal Studies (English and gST

Spanish text) (Vol. 120). net 1.00

SISTER MARY HELENA Mg

My First Lessons in Music.

0 Book I (Vol. 135). net 1.00 X®\

The Same. Book 11 (Vol. 136) Mg

n® net .60 KfT

(0 SMITH, HANNAH

The Little Pianist: Mg

Part I: To Begin With (Vol.

(0 113) . net .75

b. Part II: Steps Ahead (Vol. 114) Mg

net .75

my STERNBERG, CONSTANTIN X®))

First Studies in Polyrhythms.

Op. 118. (English and Spanish text)

0 (Vol. Ill) . net .90 W

ORGAN W?

W MACDOUGALL, HAMILTON C.

Dramatic Pedal Studies. (Vol. «r

/g) 134) .. . net .75

VIOLIN Mr

(M/ LEVENSON, CHARLES ^

First Scale Studies (English and Mg

Spanish text) (Vol. 119). net .75

<0 SVECENSKI, LOUIS

JJk Preparatory Exercises for the Mg

AS Trill, the Vibrato and the Stac- Kor.

Mr cato. Preceded by Constructive ^

Studies for the First and Fourth MB

,38 Fingers (Vol. 118). net 1.25 ^

0 WEISBERG, A. H.

A Complete School of Shifting Mg

TSl (English and' Spanish text) (Vol.

/gy . net .60

v Foundation Exercises for Fing- Ml

ers and Intonation (English and

0 Spanish text) (Vol. 132). net .60

CLARINET

W STlfiVNARD, EMILE jit

Practical Study of the Scales Mg

(English, French and Spanish text)

0 .(Vol 115) . wt 1 - S0

GUITAR

^ ROCH, PASCUAL Tr M?

A Modern Method, Vol. 2 (Eng- Kffiv

(Mr lish, French and Spanish text) (Vol.

j

. net z.ou gjjgc

(0 V0ICE ^

SI Advi’ce' , to Beginners in Singing
^ (English and Italian text) (Vol. 112) ^ ^

0 Order of Your Local Dealer ^5

3 G. SCHIRMER, INC. J

1

“1923 —the 100th year of Brambach Quality”

The Spirit of Old-World Artistry

lives in the men who make the
Brambach Baby Grand. Theirs is a
real achievement. The instrument
is one of highest quality. Its tone is
delightful. Its responsiveness superb.
Think of such qualities in an instru¬
ment that fits in the same space and

costs no more than a high-grade
upright piano.

Sold by leading dealers everywhere.

Just mail this coupon for Brochure and
pattern showing how the Brambach fits into
the smallest studio or music-room.

^BRAMBACH,-::;

Baby Grand

THE BRAMBACH PIANO CO.

640 West 49th Street, New York City

Makers of Baby Grand Pianos of Quality Exclusively

mail this coupon.
BRAMBACH PIANO CO.
<• Mark P. Campbell, President
640 West 49th St., New York City
lease send me paper pattern showing
ize of the Brambach Baby Grand.

-of the Brand

Ease and Fluency in
Piano Playing

Do You Possess These Qualities ?

READ

Weight and Relaxation Method for the Pianoforte

By Jacob Eisenberg

The Musical Observer Says .* „

Getting Maximum Results on the Piano with a Minimum of

Mr. Eisenberg has developed a practical handbook and one that
nspfnl to students generally. He gives an exposition of the natural method of playing
the piano which impresses one at once as the right method. Mr.
explained his subject very lucidly and a knowledge of the principles set forth will be
a decided advantage to any piano student. — December, 1922.

The Musical Courier Says :

Jacob Eisenberg has written a valuable book the title of
nature of its contents as well as its object.

It is really difficult to see how the student could go wrong
stantly available for actual comparison.—November 23, 1922.

which explains the
with this guide con-

The Musician Says : . ,

Simplicity, clarity ami conciseness are characteristics o
important contribution to tbp ^ e ^ a i ure .^

F Weight and Relaxation Method for Jho Pianol
widespread popularity and intimate r
cerned in any way with the study 01

^^fundamentally scientific and free from fadism 01

orte.' by Jacob Eisenberg. deserves
.... ... part of all persons who are con-
mching of the pianoforte. It cannot tail to

1923.

d theory.—January,

Jacob Eisenberg Publishing Company

and rilaxation mdthod

FOR THE PIANOFORTE by JACOB EISENBERG? . ,

I will pay the postman $1.50 (plus postage) upon its arrnai. t naid )

five days and receive my money back immediately.

Page 252 APRIL 1923

Why Great Artists Are Choosing Brunswick
—exclusively

Without exception the internationally acclaimed
artists of the New Hall of Fame have chosen Bruns¬
wick for which to record exclusively a tendency
so marked in musical circles that Brunswick now
is looked to. for the premiere recordings of the
great artists of today.

That is because, by means of exclusive methods of
recording and reproducing, Brunswick brings pho¬
nographic music into the realms of higher musical
expression. Brunswick Records are known as truest
reproductions. Adifferencesogreatas to be amazing.

The Brunswick Phonograph, presenting a method
of reproduction obtainable in no other make of
instrument, achieves perfect rendition of the so-
called “difficult tones,” attaining even Soprano
High C without slightest mechanical suggestion.

THE etude

APRIL 1923 Page 253

'Double-Raced Records

Current Recordings of Internationally Acclaimed Artists
of the New Hall of Fame, 2 Selections on Each Record

Acquire Quickly a Distinguished Record Library in This Way

This offers the master achievements of
world’s great concert and operatic stars on
double-faced records — two selections on
each record instead of one as formerly.

It is part of a general movement to place
best music in every American home.

It provides a new cultural influence, which,
because of its trifling cost no family can afford
to be without. Especially the family with
children, where the influence of good music
is so necessary.

Play On Any Phonograph

These records are known as the Brunswick
Gold Label Series.

They play on any phonograph.

Highest authorities acclaim them the world’s
truest reproductions.

They embody a new process of recording,
resulting in a clarity of expression heretofore
unknown. The difference between them and
the ordinary record is amasing.

Mechanical suggestion is absent. Tones are
sweeter and more beautiful. Every word is
clearly understandable. Every note unmis¬
takable. Even the upper register of the female
voice is sustained without a tremor.

In great orchestral reproductions, every in¬
strument, every graduation of tone of the
entire orchestra is brought out, crystal clear.
They picture music as clearly as a camera
pictures a person or an object.

Great Artists Contribute

Note the artists pictured on these pages.
Obtain one or two of their newest selections
now. Then one or two each week. Soon you
will have a distinguished record library.
Any Brunswick dealer will gladly demon¬
strate Brunswick Records and Brunswick
Phonographs. Hear. And compare! New
Brunswick records are released daily —some¬
thing new every day instead of the usual once
a month release.

THE BRUNSWICK-BALKE-COLLENDER CO.

Manufacturers—Established 1845

CHICAGO NEW YORK CINCINNATI TORONTO

And

records

Page 251± APRIL 1928

THE EPUD1

THE “WHOLE WORLD” SERIES OF USEFUI^P1ANL^ P LLECT10N ^

• • “Winnip World” Series not only cover

1 he collections of piano music in e , g Q f music, so that they may
all grades of difficulty, but also al in s ^ recital or recreative purposes.

be utthzed for other find these books both

Teachers and music lovers in geneid.1 wx

useful and convenient, while the economy of
purchasing standard piano music in this form
cannot fail to make itself

The “Whole
World” Series
contains collections for voice and
for violin as well as for piano, and
every teacher and music lover will find the new
complete 56-page catalogue (containing the titles,

immediately apparent.

The postpaid price of the
books illustrated is $1.25,
except “Concert Piano
Pieces” the price of which
is $3.00 in paper and $5.00

descriptions and contents of all the books) both interesting and
useful. All the books in this series can be pro<mred at ^de; m MTJSIC

music and book stores at the publishers’ prices. The' WHOLE WORLD „

SERIES complete catalogue will be sent free of charge to any reader of the t

THESE BOOKS ARE ON SALE AT ALL MODERN MUSIC SHOPS

D. APPLETON AND COMPANY, 29-35 West 32nd St., New York

TINDALE

MUSIC FILING CABINETS

Your music kept neatly in order, protected from
damage and where you can quickly find it.

0 now in use by a.

12 Styles to Select - from, Oak or Mahogany

Send for Catalog I, and ask for oar Easy Payment plan

TINDALE CABINET CO., 159 W. 57TH ST., NEW YORK

S U1VI1VI ~V * S CORNER |

PIANO PIECES WITH WORDS

Teaching by means of Correlated ideas is the Plan upon which
these NEW Collections of Teaching Material are built

They are piano pieces with titles that suggest something definite to the child mind, sup¬
plemented with accompanying words which at once establish the character of the music.

FROM THE VERY BEGINNING

By Phyllis Lacy Keyes .. 60

-—

MOTHER GOOSE TOLD AT THE PIANO

FALL AND WINTER HOLIDAYS

CLAYTON F. SUMMY CO., Publishers

429 South Wabash Avenue, Chicago

The Essentials of Harmony

HAROLD B. MARYOTT, A. B.

Teacher of Harmony arid Public School M usic Methods

Price $1.50 postpaid

GAMBLE HINGED MUSIC CO.

Publishers and General Dealers

7 E. Van Buren Street CHICAGO, ILL.

NO TEACHER \

desired without hrst writing our service department. '

MUSIC PRINTERS

j ENGRAVERS-LITHOGRAPHERS I

Sprint anything in music- by any process I

I WE PRINT FOR INDIVIDUALS I

^establishedI an. REFERENCE ANY PUBLISHER I

“ZIMHERMAH'

CREATIVE

MUSIC

Satis N. Coleman dese

tudy of

A vXm“^faKin^^ a L«est U Md^ practk
value profusely illustrated

$3.50 at booksellers or Iron) the publishers

Send for JUustraled Circular
G. P. PUTNAM'S SONS
\ 2 West 45th Street New York

advertisers.

THE etude

SERENADE MIGNON

APRIL 1923

Page 255

„ J 0 HARRY HALE PIKE

In modern Intermetto style. To be played lightly and gracefully. Grade 3

Copyright” 1922 by Theo. Presser Co.

British Copyright secured

THE ETVDe

THE ETUDE APRIL 1923 Page 257

■ *

ft

II

iiPipi

A? >

poco a

^"atrfciZr

poco string, e cresc. ^_

iwr -f(i r ^3=-skrf[ d

)tt ,-^r ,. ^Tr

0 ITW^-.i,^ :^i. ^ /r-.

jp^ Tgf b

=j| y L P^ =

n |5 _

#.. ^ Ilf

BeUag ~T. f marc.

^ T-

'f ■#■• . 'V !>#•* ^-0-m. r* | , ft 0-m^f 1 ^

1 . .

marc: r

-r^fi i J**i 7 ^^-'

^~L'L'— fp 11 n f bU

r «D vtPLjuja

lL rL b# i #r" , r#«r lESb L ’T F U L"

. ff> > ^ a tempo

». 1 *,hJ „ 1 - U. -EFffP

j t jut ~ - r.'* w *..• *r-^. ^ ■ --*--1 --taa-i: f

i i .. j i , i

A i>». n-v p-^ m.m^

L— —. n !t-itU i,g—

fl 5”^ / ft «‘: ■a.””*.*------.—-

7 * ■~- = F : F=p=f : p=p=f UP

rr^

; 1

: *7 i i m J~~n^

i I^IW- .

\grand r ioso< | r K C-J— J

[W\K CCf-«Bp

'ilto W-Eu

El - Ped

'.simile

r fiffr Wt

h crri^^f

■ir rftf rTrfr- rTTif rh

'spA

r Cjgrr

.•/ftt^efW

L--- 1 Pp.iI si write.

mm

Page 258 APRIL 1923

THE ETUDE

IN THE OLD BARN

DANCE

A gay little jig movement, requiring nimble fingers and precision of rhythm. Grade 2 2

M.L. PRESTON

* 3

j£hrfl

• Is y

l

y -fcv L

V n:

2

i J 8

::u, . >ja

tc ^ J :Jz:

■f r r $ m

r r

n

j -jgy • J

- 1

--y-#

- i . 4 .., -

\' y 7

4

ygl

8 1 V

4 ^ 1

-* v m m i

h 3 j£~

8063

- *H f—
2 1 6

An elegant little air de ballet in waltz rhythm. Play with singing tone, not too fast, and in free time. Grade 3.

Copyright 1922 by Theo.Presser Co.

British Copyright secure ' 1

A SPRING ROUND

An example of the same theme appearing in either hand. Also a useful study inthe minor key. Grade. 2\

Allegro m.m. J = 108

0 ^ A

3 8 tT

2 3 4_ a

3^ ^

4 ^

4 |

1 1 1 1 4

1—?r

b4s*j

s

53

u

pocoraims

THE ETUDE

Pa *° 2M APR,L " LOCH LOMOND

HENRY TOLHURST

A well-made transcription of the lovely old folk tune. A fine encore number.

Andante

VIOLIN

PIANO

OLD SCOTCH SONG

j, poco lento

a ten

, _ a ten\

ipo _

ipo ~

rit.

/Ts

t7\ ^~ 0

j'rfy

; -

noco lento

feupp

Hip

pipp

, rit r?\ m f

8%

am*

International Copyright si

the etude

To Mine. AmelitaGalli- Curci

ABIDE WITH ME

With accompaniment arranged for solo, as suogby M„e, Amtlita Galli-Curci.

Moderato

APRIL 1923 Page 261
W. H. MONK

Arr.by HOMER SAMUELS

A - bidewith me: fast fallsthee-ven-tide, The dark-ness deep - ens: Lord.withme a - bide: When oth-er

.I, — j £ , ,fc.

pointmeto the skies; HeavWs morning breaks,and earth’svainshadows flee: In life, in death,0 Lord a - bide with

Copyright 1923 by Theo.Presser Co.

Page 262 APRIL 1923
WILLIAM HAROLD MARTIN
Moderato

JOURNEY’S END

THP ETUDE

HERBERT RALPH WARD

ev ry one,

A - downtheways of life we slow-ly pass, Our days in fruit

search we feeb-ly spend, Each day we fear will close thebook of life.

Before we re-al-ize our journey’s end.

- ns

Journey’s end, how sweet it sounds,how rest - ful, How glad our hearts at last no more to roam; How light our

hearts_to find a-round the turn - ing, The gleaming, call-ing hap-pi - ness of home

Copyright 1923byTheo. Presser Co.

British Copyright secured

THE etude

APRIL 1923 Page 263

a , mfa tempo -c -

T - 1— A --K K I . N 1 h h 1

hd -r-i

We meet and pass some

strangers ev-’ry day,

\W #•

\

1 -

---

* J f— — ■

" 'rail, e dim.

^ Uf t ==i

Fj‘1 1 ==t=i

. ___ ' _ <

rn*•a w

i—^

_<__

H .— b .

£ 8-

Page 264 APRIL 1923
Charles O Roos

Indian Pipes— little ghost flowers_ standing in the dawn lightalong
grass-grown,all -but-forgottentrails. Letusbe happy in the Indian Le¬
gend and tradition that there are ghost pipes left along the forest ways
by Phantom Chiefs who return from long Star Trails in the Moon of
Ginseng Berries to hold Council Talks and smoke the Calurtets. Could

GHOST PIPES

rHZPTULg

THURLOW LIEURANCE

the soft haze and the dawn-mist that veil the far hills sleeping Under
Northern skies be other than Ghost smoke from the ghost pipes of the Se
Chiefs who return from the Happy Land far down ^ Mue-deep of th e
sky, to walk again the trails that they knew in the Witti- Wasso_ the
lost time of long yesterdays?

Moderato

Con moto

British Copyright

secured

THU ETUDE

Moderato

APRIL 1923 Page 265

LA CHANSON

l Sw - Soft Strings
1 Gt. - Solo stop
(Ped.-with

A tuneful slow movement with an ornate finale. A good recital or picture piece

Ad lib.

Manual

MARY PEARL HOFFMAN

Moderato

Gt.Fl. (Trem. ad lib.)

Co Pyright 1923 by Theo. Presser Co.

British Copyright secured

Page 266 APRIL 1923

TEE etude

Finger^ Control

By L. E. Eubanks

APRIL 1923 Page 267

To judge by the anatomy of the human finger it ;« w, . ,,.

hand, observing how the tendons which Beginners learn th^^^ 6 of , , contr ,° l
control the fingers are “tangled,” we might when thet nlav in th l * ?

infer that Nature did not plan for any con- Ts the novice Lari, h,v L ° f ? U D >
siderable mdividual action of the fingers, are required to do the P ^ fel ? to do > th f y
When the savage grips his bludgeon, when third finger One ofrtL hL Pmg ?
the frontiersman swings his axe, when third finger controlJ SrP'!
the sportsman dips an oar, the fingers act the second Z ' ^

collectively. It is only when we come to other two remain on the^rtegl Dort
the more delicate occupations, gqmes and try for great height of lift f t

arts that independent finger action is often pressure at first Aim to “tfee?the
"S on a violin or piano depends largely ° y 2

on this very quality, individual control and brain’s commands promptly. Don’foverdo
strengdi m the fingers The insistence of When you feel your pier to isolate the
the third and fourth fingers on working finger's action lessening quit for Se time
together is one of the obstacles that virtual- The fourth) ^ ^ ^

ly every beginner has to overcome. weakest: but on account of its position on

Dont overdo the training for strength; the hand it readily lends itself to train-
;t is very easy to stiffen the finger-joints, ing. The old time “stunt” of touching the
The fingers of the violinist’s left hand have tips of the little and first fingers (or tfying
to be strong in the first joint (nearest the to) is good to stretch the tendons and help
end), for stopping. It is quite possible for develop individual control. Also close the
a person having a generally strong hand, as band, then open out the little finger as far
measured by his grip, to be comparative- as you can, repeating until it is slightly
ly weak in these particular joints. They tired. Do this with each one of your
positively must be strong if the fingers are fingers, being careful to keep the others
“ stand firmly on the strings, instead of well closed. Do not let any musician or
• lying down from their tips to the first joint, surgeon persuade you to have a tendon cut-
Very little experiment in holding the it means serious and unnecessary risk. RaI
strings down firmly and then loosely will tional exercise will develop normal strength
show anyone the tonal inferiority of the and control.

latter method. It is impossible to produce Playing is the best exercise for a mu-
a perfect tone with a stopping finger that sician’s fingers. Supplemental movements
falls down or has any rotary action. are of value, since they use the muscles in
The first or index finger is usually fairly some slightly different positions, and afford
strong. To the violinist, it is the “anchor” a change of work; but naturally, practice
of the left hand in the first position. In- of a thing itself is the best training for
stead of being stuck up into the air, as some that thing. Be certain you are placing the
players hold it, the first finger should fingers correctly, then practice scales, ar-
regulate and hold to place the other fingers, peggios, everything that will help you to
Keep it down, on a string till the music re- gain control of left hand .

IZZZl „ K° lng thl - S fr ° m L he One of the best ways to prevent the habit

fn, th f y n ? be PT i n t USing u hlS of raising a finger unnecessarily is to un-
fourth finger. Ordinarily, the latter when / i • •

used tends to pull the haiid up the finger- derl “ 6 ^ Passage (playing in the first
board; but controlling the first finger and P ° S > 6 • ‘ S remam 1

making it stay down prevents this fault. down J or s l om< ;. tlme > thcn kee P your
The second finger is nearly twice as th ° u ? ht on ^ Ime : ,
strong as any of the others, and most of us 1 have spoken of the value of stron 2
have our best control in it. It gives but P ress ure. The accomplished violinist meas-
little trouble, if the principles of one’s ures pressure “instinctively,” but the novice
practice are correct. has to make a point of “bearing down,” has

The third finger is the most troublesome, to attend to it consciously, until his sub-
Though a little stronger than the little conscious mind “gets the idea.”

That First Piece

By Ethel Abbott

In the teaching of pieces to beginners, little, if any, staccato or portamento or

several factors should have careful con- pedal, at least in the first grade pieces.

sideration: The first pieces should inculcate the prin-

1. The sice of the child’s hand, ciples of Ie S ato touch > melod y Paying and

2. The flexibility of the child’s hand, s j m f e accompaniment, nothing more. A

‘ y 1 ’ duet or a sonatina may occasionally be

,.., The musical development of the used> especially if the child tires of pieces.

Duets stimulate reading in both clefs. The

4. The special teaching points in the sonatina opens up the fascinating discus-
piece, which should be correlated with sion of form and gives the child an oppor-
the technic or studies, or both. tunity to listen with intelligence to all

Many teachers feel that if a piece is music he hears,
easy or simple looking, it is ready to be B is a S°° d P Ian to alternate sharps
taught to children. Nothing could be fur- with flats, gay pieces with grave
’her from the truth than this. Good teach- ma i° r with minor, and duple '
ln f? Pieces for the Elementary Grades - *- -

>t plentiful, even now, when the need
realized, and composers are struggling
“11 that need.

What are the points one should look for,

then studies something in slow tempo with

mentarv Gr H ? g chords ’ or a piece of the Lullaby type. The

triple; even, occasionally, legato with stac¬
cato. This latter would come in the sec¬
ond or the last half of the first year, with
the brightest pupils only, of course. The
nimble-fingered child learns poise if he fff
studies something in slow tempo with

mentary Grades?

1. They should be fairly short.

child with the clumsy hand learns much
from a piece with jilting rhythmic idea.

2. They should contain interesting met- such as the HuntingSong type. The child
ody and harmony, distributed between with apparently little imagination becomes
[he two hands; or having melody only awakened through the agency of a de-
m one hand, the accompaniment in the scriptive piece. From this beginning, the
other hand, simple chords and easy musical perception becomes more acute, and
stretches, simple rhythms, no octaves, no enjoyment of practice ensues, so that in-
ar Peggios, no long scale passages, and terest and curiosity do the rest.

This delightful piano might with justice be
called a miniature concert grand, for musi¬
cally it embodies the advantages of the larger
grands, and possesses a tone volume and
range of expression surprisingly broad.

In no detail has quality been sacrificed
for size, the

Ivers & Pond Standards

being rigidly maintained. Musicians quickly
recognize the characteristic Ivers & Pond tone
in the u Princess" > —a tone half a century in
developing, and easily apparent in every
Ivers y Pond .

Write for a catalogue describing all our
grands, uprights and players; and a paper
pattern showing how little floor space the
Princess requires.

Wherever in the United States we have no dealer, we
ship direct from the factory. Liberal allowance for old
pianos in exchange. Attractive easy payment plans.

Write us today

Ivers & Pond Piano Co.

141 Boylston Street Boston, Mass.

Please mention THE ETUDE when

Page 268 APRIL 1923

Getting the Voice Placed

By J. Vernol Clarke

This brief article does not pose as a
learned treatise by an authority nor does
it seek in any way to lock horns with the
lords and ladies of the musical world. It
merely endeavors to give a method em¬
ployed by one teacher on one pupil who
after several years of lessons had still
neither developed the head-tone nor had
his voice correctly placed.

It has long been known, no- doubt, and
noticed as well by students, that there is
a strong expulsion of breath through the
nose when the letter “K” is pronounced.
There is also a throbbing felt in both the
inferior and superior maxillary, or upper
and lower jaw. If the word “kay,” which
is the letter “K,” is sounded and held in
the form of humming with the lips parted,
the throbbing sensation is more distinct. If
“kay” is said and the lips closed and the
humming of “kay” continued, it will be
found that the lips tickle. Many teachers
have said that when the lips tickle in hhm-
ming the voice is correctly placed, or at
least the hum is correctly placed, because
at first the voice may not follow with the
hum and stay there, but be inclined to drop
back again into gutturals and throatiness,
so common to singers in the early learn¬
ing stage. It is this throatiness which
causes so much hoarseness and throat
troubles at this stage also.

Now, if the “kay” is said normally and
then the lips closed and “kay” said again,
the throwing forward of the voice is even
more apparent. It will be hard at first to
say “kay” with lips closed; at any time it
will be a sort of a grunt or hum, and an
explosive one at that—the more explosive,
the better at first. If “kay” is said natur¬
ally at first and then the saying with closed
lips is tried, it will be easier, however. If
after the first explosive “kay,” the sound
is continued in a hum, it will be found that
the hum will be far clearer than ever be¬
fore, also more resonant and musical. In
time with this exercise the same qualities
will be imparted with the singing and
speaking voice.

Any student of voice who is finding diffi¬
culty with voice placing or with attaining
the proper resonance, would do well to use
this exercise in addition to the others pro¬
vided by the instructor. Practiced faith¬
fully it will undoubtedly do the same good
that it did for the pupil of the teacher men¬
tioned in a previous paragraph. In this
particular case, the exercise brought the
voice to the proper place, developed splen¬
did resonance qualities and is making a
high operatic baritone out of what was
formerly a rather half-hearted second-bass.

The exercise has served to “open” up
the voice of this man so that whereas be¬
fore he reached “E” only with difficulty
and a straining of muscles and voice, he
now reaches “G” with ease, and on occa¬
sion takes A flat and even “A.” Of course,
practice is required. Any music student
knows that and the exercise suggested
should not displace but only be in addition
to others given by the instructor. In sing¬
ing the scale or exercises, the “K” used in
place of the other consonants before the
vowels has also been found a big help
towards keeping the voice forward.

Selection of Pieces

By E. L. Winn

No teacher should enter the profession
who has not a wide repertoire. Select
works of the best composers, not concert
pieces alone, but pieces intelligible to pu¬
pils. It is an offence to art to teach pieces
too advanced. Many people take up teach¬
ing who are not properly qualified I do
not believe in teaching virtuosi works to
amateurs.

The Singer’s Etude

Edited by Vocal Experts

It is the Ambition of THE ETUDE to Make This Voice Department
“A Vocalist’s Magazine Complete in Itself ”

What Is Good Singing?

By W. J. Henderson

The following interesting article is printed in pari through the courtesy of “The Outlook."

If you observe the character of the
demonstrations made by the audiences
which attend the operatic performances at
the Metropolitan Opera House, you will
probably arrive at the conclusion that the
essentials of good singing are loudness of
tone and ability to emit sounds of unusu¬
ally acute pitch. Yet it is only a few years
since thousands hung upon the purely
musical delivery of Mme. Sembrich, or
listened with delight to the stream of liquid
melody from the lips of Mme. Melba.
And still a little later Carnegie Hall used
to be crowded whenever the former gave
one of her incomparable song recitals^ in
which the highest and lasting ideals of
good singing were exemplified. For the
true definition of good singing makes it
the art of interpreting text by the musical
tones of the human voice.

The Need of the Beautiful

The necessity of interpretation is too
often forgotten. The need of' beautiful
tone never is, but the public at times ac¬
quire vitiated taste in regard to beauty.
However, it is conceded that if singing
is to be good, the tones must be beautiful,
for the materials of artistic expression
should always be beautiful. False ideals
of art often prevail, and we have pictures,
sculptures, and poems on revolting and
ugly themes. But the artist’s palette, the
sculptor’s marble, and the poet’s vocabu¬
lary may still retain their native glory.
You cannot make great statues of mire,
great pictures with dirty water, nor great
songs with raucous sounds. So that we
are brought back to the conception of sing¬
ing formed by the early Italian masters of
the seventeenth century. Their vocal
ideals were beautiful quality of tones, simi¬
larity of quality throughout the range of
the voice, flawless smoothness and elegance
in delivery, flexibility and agility, and
power. These items are enumerated in
something closely approaching the order
of their importance. Power is placed last,
because in all the great periods of vocal
art it has been the least esteemed of all
the vocal equipment.

The translation of sounds into sense re¬
quires the use of words, and these must
go hand in hand with the beautiful tone
without marring it. Therefore, together
with tone quality, we need what is loosely
called among singers, diction. The traits
of this are perfect pronunciation of the
vowels, perfect articulation of the con¬
sonants, and textual phraseology, or word
phrasing, which shall bring out fully the
sense of the words, and at the same time
not mar the symmetry of the musical
phrase. Too many singers consider only
the musical phrase, and, indeed, composers
often construct their musical phrases so
that the textual phrase cannot be kept
intact.

When you go to the opera you hear a
vast amount of ugly tone, sometimes
shrieking, sometimes growling, sometimes

almost barking. The plea in extenuation
is that dramatic utterance demands these
things. The fact that the passionate elo¬
quence of the orchestra never requires
barks on the trombone, quacks on the clari¬
net, or squeals on the violin, does not occur
to those who make this plea, nor do they
note the pregnant fact that there is nothing
on the printed page of the score to indi¬
cate the delivery of anything but musical
tones. The truth is that when we employ
the human voice as a musical medium it
must produce only musical tones. Bad tone
is abnormal. It obtrudes upon the hearer
a disturbing element; it distracts his atten¬
tion from the musical thought to the instru¬
ment uttering it. The voice is an instru¬
ment of expression. Its office is not to
draw our attention away from the music
to itself, either by a parade of skill or by
deficiency in natural beauty.

The tones should surround and enwrap
the hearer in an atmosphere of pure hu¬
man influence. This atmosphere is alive
with the vibrations of a living human in¬
strument, acting not only under, but in the
highest and most glorifying union with,
human intelligence, emotion and spiritual
aspiration. It is the living element in sing¬
ing, its enfolding of the hearer in the
actual product of the body and soul of
the musician, that raises this art above all
other music in the potency of its influence
on the listener.

The Ultimate Object of Technic

Now, if you should be privileged to sit
among a company of singers engaged in a
discussion of their art, you would learn
that they apparently regard beauty of tone
as the only desideratum. How to produce
tones the best way is their endless theme,
upon which they make a thousand varia¬
tions. This is because the ultimate object
of'all musical technic is the production
of beautiful, warm, vitalizing tone under
no matter what difficult conditions. The
violinist and the pianist seek for such tone
just as assiduously as the singer. The
witchery of Paderewski’s piano playing was
that, no matter how rapid the flight of his
fingers, he always made the piano sing.

_ Equality throughout the scale is essen¬
tial to the perfection of a beautiful voice.
It preserves the identity of the organ. A
clarinet does not at any time sound like
an oboe. It is all unmistakably clarinet in
tone from the bottom to the top of its scale.
The English horn, the contralto of the
oboe, does not merely extend the oboe scale
downwards; it has its own characteristic
quality. It is not a lowered soprano but
a genuine contralto. A voice should be
all one voice. Sophia Scalchi, famous
contralto of forty j/bars ago, rejoiced in
the possession of four distinct registers or
qualities of tone. Her celebrity was gained
by other excellences which triumphed over
the defects in her scale. Mme. Melba on
the other hand, had a perfectly equalized
voice. Its scale was like that of a fine

THE ETUDE

Flexibility, in vocal terminology, means
the power of the voice to increase or
diminish its force easily and through a
hundred different degrees. This power is
the very essence of expression. It is not
the only means, indeed, but the one with¬
out which the others are almost certain to
fail. It is the twin sister of emphasis in
reading. It enlivens the rhythm of singing
by enabling the artist to impart to it an
endless variety of accent. Also, it is one
of the features of singing most neglected,
especially at the opera, where there are
as a rule two kinds of dynamics, very soft
and very loud, mostly the latter. When
Maurel used to sing Iago in Verdi’s
“Otello,” he always made the deepest im¬
pression in the entire opera by his half-
whispered narration to Otello of Cassio’s
dream. He did not utter a single loud
sound, but, singing sotto voce, imparted
such amazing intensity of expression by
his subtlety of accent that lie achieved a
veritable dramatic triumph. How Sem¬
brich used to thrill us with the last few
measures in “Der Nussbaum,’ which she
murmured in the most delicately accented
manner. Such singers had acquired a per¬
fect flexibility of voice.

Agility is quite another matter. Its
meaning is obvious, but its significance not
rightly understood. It does not necessarily ,
mean the power to deliver passages at an
astonishing speed. Its greater value lies
in its gift of the power to utter tones with
perfect freedom and smoothness. It may
astonish the reader to learn that a vast
majority of the public singers of to-day
cannot correctly sing a simple scale. For
the matter of that, more than half the pian¬
ists cannot play one, except very slowly.
To sing simple scales fluently anil smoothly
is one of the fundamental requisites of a
vocalist’s equipment. But in these days of
haste, students are unwilling to give suffi¬
cient time to purely technical preparation.

Why We Should Sing the
Master Songs

By Nelson Illingworth

To know is to love the Master Songs.
And loving, who can not sing them, revel¬
ling more in their beautiful joys and con¬
solations as our devotion increases? For
here is the very temple of music, in truth
—Chamber Music. Chamber, where heart
may speak to heart in intimate truth.

I love them because they have meant
much to me, ah, so much. And being so
to one, they will be to all. For in what
are we different ? Under our trappings, all
hearts beat to the same fundamental rhythm
of human sympathy. While as Emerson
so beautifully says, “To believe that which
is true for you in your private heart is
true for all men—that is genius.” Have
not Schubert, Schumann, Franz, Brahms,
and all the other great hosts of the song
world made this manifest? In voicing their
yearnings, hopes and inward state, which
they as units of the whole felt, they spoke
for all; and we as part of the whole re¬
spond with delight when we do but hear.

The eternal rhythm of human sympathy,
expressed by these rare souls, consoles
their fellow-beings in travail, not alone of
yesterday, and to-day, but forever. And
when we would think of this vast wealth
of expression, this well-nigh sacred pour¬
ing out of that which we in our inner
beings hold dear, by these true democrats
who would assuage all by communion m
art; we can but voice our thanksgiving by
sharing with others less fortunately dis¬
posed than ourselves in not already having
that which we now cherish.

The Unlimited Wealth of Song ,

And what a wealth is here! As Schuler
and Beethoven so beautifully say * n ,
Ninth Symphony, “A kiss for all.” hu -
fillment for whatever need. Schuber ,
with his lofty idealism, glowing with a

THE etude

human love that embraces all. Schumann,
with a more personal yearning, singing
always in poetic fancy. Franz, ah, one
would feel that here was the very kernel
of song; almost a heart within a heart;
rich and warmly throbbing. Brahms, in his
sanctuary, gently but ever-leading to a phi¬
losophy beautiful and serene. Wolf in surg¬
ing emotion, picturing with titanic psychol¬
ogy and impetuous fervor, all, from
faintest breathings to enveloping volumes.
Grieg, who with such gentle charm leads
us into realms of dreams and fancies
wherein all would fain dwell. All, all, for
all is here. Our every need fulfilled. Could
art have been more faithfully served?

The Sustained Flights

Then think of the wonderful journeyings
when we are borne away by the exquisite
song cycle. The most ethereal To the Dis¬
tant Beloved, hearing which is to glow
with delight with this so pure soul.
Then the lovely Miller Maid. The Swan
Songs, whose parting heart throbs echo
in us of this fate so sad and yet so beauti¬

ful. The Poet’s Love, with its tender
yearning and despairing lament. The ex¬
quisite and deeply touching humility of the
Woman s Life and Love. The wild Gypsy
Songs, with their barbaric rhythm and
great canvases of emotion. The lovely
Songs of the Reeds that will forever
rustle. The Love’s Confession, that pul¬
sates to its final acclaim of “Ah, how pleas¬
ant tis to love,”, as truly to-day as it did
nearly three hundred years ago. And that
veritable avalanche of human emotion, that
toils in agony of unrequited love through
!l s . of hell to final resignation, vide,
1 He Winter Journey. Oh, what a yearn¬
ing is here! What a travail! In all art
is there anything more ineffably sad, and
covering a wider range of emotion than
this mighty monument bequeathed to the
realm of song?

Ah, this wonderful inheritance of all.
Let us not be found wanting to seize and
incorporate it into our lives. Come, that
we may sing from our hearts these divine
voicings that are the very manna of life
and art I

APRIL 1923 Page 269

Yodeling in the Alps

By Amy V. Litteljohn

One of the peculiarities of this pic¬
turesque method of singing is that it
cracks and ruins the voice for pure singing
of legitimate music. The constant chang¬
ing from chest to head tones and reversing,
so prettily and skilfully done by the cow¬
herds in the various cantons of Switzer¬
land, spoils the natural voice and renders
it incapable of rendering natural song.

The traveler through Switzerland always
pauses and listens with delight, however,
when his path through the hills and moun¬
tains takes him near the melodious chant¬
ing and humming of the shepherd or
cowherd who minds his animals on the
mountain-side while amusing himself with
a yodeling melody.

The yodel is never taught, and there is
no method of learning it. It is no regular
school of music, and yet a Swiss can im¬
provise all day, constantly changing and
forming new harmonies and melodies as
his moods change. One of the best yodel-
ers I have ever heard was a six-ycar-old
Swiss boy in the French part of Switzer¬
land.

The children seem to be born with yodel¬
ing voices. Without instruction or teaching
from anyone, they develop a natural apti¬
tude for making harmonious improvisa¬
tions. Left alone, they are never lonesome,
for they keep themselves company by their

voices. Their ears are their only tuning
forks, and they pick up the process used
by their elders without a self-conscious
attempt to learn it.

Although .yodelers are found in all the
Swiss Alps, a considerable number of good
ones live in the Canton de Berne, the
Canton de Vaud, in French Switzerland,
and practically all of German Switzerland.
The yodeling solo is delightful in itself,
but when three or four good voices get
together in one of the little wooden chalets,
the effect is a marvelous blend and har¬
mony, the improvising never conflicting
with the singing.

There seem to be no regular syllables for
yodeling, each singer varying in tune and
tone according to his natural bent, but all
in accord and rhythm. Some of the more
serious patriotic songs of these hard
mountaineer folk provide in the refrain for
a measure or two of yodeling at intervals,
and attempt to indicate the yodel, but there
appear to be no compositions among these
mountain folk for yodeling.

One is somewhat disappointed, however,
when one of these people attempts a song
or composition of a more serious nature,
as the general rule is that the voice breaks
and cracks and contains many rough spots
that cannot be smoothed over, due to the
broken range of the yodel.

celebrated voice teachers of America who will conduct departments in future issues.
These eminent men and women, any one of whom charges for one lesson, more than
three times the annual subscription cost of THE ETUDE, have promised en¬
tirely fresh and stimulating material.

advance of publication offer

| ADVANCE OF PUBLICATION OFFER

Sacred Song Albums

For High and Low Voices

We will issue two volumes of sacred
solos, one for high and the other for low
voice. They will be suitable for the aver-
a ge choir soloist. None of the selections
have ever appeared in any similar volume
so there is no risk in ordering one of these
oo°ks in advance. Our advance price for
dlher the high or low voice volume is 35c
Postpaid.

Advance of Publication cash price, 35c. each

ORATORIO SONGS

FOUR VOLUMES

We will issue shortly four volumes of ora¬
torio songs, one for each of the four voices,
soprano, alto, tenor and bass. They will
contain the best only and will be edited by
a leading authority for each voice. The
volumes will not be large nor expensive, but
will include a number of arias that have
never yet appeared in similar volumes. The
late David Bispham was to have been the
editor, but we will now have a special editor
for each volume. Every singer should pos¬
sess one of these volumes. They may be
ordered singly, each 50c postpaid if ordered
in advance of publication.

Advance of Publication, cash price, 50c. each

J&ORE PRESSER CO., Philadelphia

L Publishers and Dealers,1710-12-14 Chestnut St

THEODORE PRESSER CO., Philadelphia 1

Music Publishers and Dealers, 1710-12-14 Chestnut St.

KIMBALL

‘‘The Instrument of Yesterday, Today and Tomorrow”

4S Jean De Reszke,
l \ operatic idol of
yesterday, chose a KIM¬
BALL for his personal
use, because of its beau¬
tiful singing quality of
tone—so Charles Mar¬
shall, now acclaimed
the most heroic figure
among heroic tenors,
gives expression to his
approval of the incom¬
parable KIMBALL
—the instrument of
imperishable fame.

KIMBALL

Qrand Pianos Reproducing Pianos
Upright Pianos Phonographs
Player Pianos Pipe Organs
Music Rolls

j W ‘ 306 K Chi in

| Gentlemen: Please mail catalog and information on instru-

W. W. KIMBALL CO. I □ KIMBALL Grand Pianos □ KIMBALL Phonographs

(Established 1S57) | □ KIMBALLUprightPianos □ KIMBALLPlayer Pianos

_ . _ __ I □ Also mail paper floor pattern for “Bijou” Grand—free.

Factory and Executive Offices;

CHICAGO, U. S. A. J Name-

Posed ly Anno Q.
Nilsson in “The Luck of
the Irish" an Allan
D w a n production.
C Mayflower Photoplay
Corporation.) Miss

ngram’s Milk-
ity of complex-

Your mirror need never tell you

that your skin is growing faded

N EVER need your glass reveal a aw
complexion that is sallow—a skin an:

redness and roughness, heals
ring little blemishes,
to your druggist today and
ase a jar of Ingram’s Milkweed
n in the fifty-cent or the one-

efucha^ctSnmy^ 1

Ingram's Beauty Purse
‘ingfum-s’llilkweed

health of complexion.

Ingram’s Milkweed Ci
find, is more than a face cream, more
than a cleanser. It has an exclusive
therapeutic property that serves to
“tone-up”— -revitalize —t h e sluggish
- f ‘. Applied r. * *

Musicians-l
Cream rubbed *
soften hardi

8 —Ingram’s Milkweed
I into the finger tips will

Frederick F. Ingram Co.

Established 1885

43 Tenth Street Detroit, Michigan

IngtZitiVs

Milkweed

Cream

Please mention THE ETUDE when addressing our advertisers.

r

Page 270 APRIL 1928

THE ETUDE

As a means of contributing to the development ol ,Merest in opera, Jor
many years Mr. James Francis Cooke, editor of "T he Etude has prepared,
gratuitously, program notes lor the production given in Philadelphia by The
Metropolitan Opera Company of New York. T.iese I

Metropolitan uperu - -

extensively in programs and periodicals at home and abroad. Believing that
our readers may have a desire to be refreshed or informed upon certain
aspects of the popular grand operas, these historical and interpretative notes
on several of them will be reproduced in “The Etude.” The opera stories
have been written by Edward Ellsworth Hipsher , assistant editor.

Wagner’s “ Parsifal ”

D. A. CLIPPINGER

Teacher of Singing

AUTHOR OF

SYSTEMATIC VOICE TRAINING.Price $1.25

A text-book for teacher and pupil

THE HEAD VOICE AND OTHER PROBLEMS... Price $1.25

No book of recent years has received more enthusiastic comment from the
greatest teachers of the country. Both of the above are among the most
widely-used books by an American author.

~L CLIPPINGER'S w„u. s .a

it produced without effort ? The

rt throughout the compass.

m the HEAD VOICE hi

is brought to him singers from all part
In the training of TEACHERS his w

SUMMER TERM Five weeks, beginning June 25th

D. A. CLIPPINGER 617-18 Kimball Hall

Chicago, Ill.

SOPHIE BRASLAU

IS SINGING IN RECITALS

MARCHETA

LoveJSong of Old ]

Among others featuring this charming song are ORVILLE HARROLD,
JOHN CHARLES THOMAS, GEORGE MacFARLANE, CRAIG
CAMPBELL, VERNON STILES and FRANK CROXTON

Published in two Keys D and G Special Price Till May 1st THIRTY CENTS

Published for Quartette, Men’s, Women’s and Mixed Voices
in Two-part Choral Form and Orchestra

THE JOHN FRANKLIN MUSIC C0. E

“ 1531 Broadway, N.Y.

+ FOR MOTHER’S DAY |

The average music lover, in thinking of
the works of Richard Wagner, assumes
that his “Parsifal," produced at the age of
sixty-nine, as the last of a long series of
magnificent contributions to musical dra¬
matic art, is consequently his greatest
musical work. Musicians, however, will
never be able to settle the matter in their
own minds, some contending for “The
Mastersingers of Nuremburg,” others for
“Tristan und Isolde,” others for “Die Wal-
kiire,” and still others for “Lohengrin”
and “Tannhauser,” because of the wonder¬
fully exuberant melodies of the youthful
Wagner, thrilled with the first glorious
steps in his great artistic adventure.

The marvel of “Parsifal” is that, not¬
withstanding the fact that the composer
was verging upon the Biblical three-score
years and ten, the work shows astonishing
virility, as well as maturity. Like Verdi’s
“Falstaff,” produced when • the composer
was eighty, there are innumerable passages
which have all the spirit and spontaneity
of young manhood.

“Parsifal,” called by the composer a
Biihenweihfestspiel (Dedicatory Festival
Play), was written for Wagner’s crown¬
ing achievement, the Festival Theater, at
Beyreuth. The poem itself, a work of
notable literary importance and epic di¬
mensions, was first published in 1877. The
music was not completed until 1879, and
the first performance took place before a
notable assemblage of prominent men of
art, science and letters, as well as the cus¬
tomary royal ornaments, on July 28, 1882.
For twenty-one years the work was con¬
fined to the stage of that theater, save for
the fact that it was given in concert form

at Albert Hall, in London, in 1884, and, if
the writer remembers correctly, in a simi¬
lar manner a few years later under the
baton of Wagner’s disciple, Anton Seidl,
at the Brooklyn Academy of Music.

In 1903, however, the Beyreuth spell
was broken by performances Riven at the
Metropolitan Opera House in New York
City, greatly to the consternation of the
Wagner heirs, who had found in “Parsi¬
fal” a tremendous drawing card. Since
then the work has been done in many
music centers, the latest of which was
Madrid, where the conductor, if we are
not mistaken, was Karl Muck.

At the original performance Kundry
was done by Materna and Parsifal by
Winkelmann. At the first American per¬
formance, Kundry was sung by Ternina,
Parsifal by Burgstaller, Gurnemans by
Blass and A mfor las by Van Rooy.

Shortly after the American perform¬
ances, Henry W. Savage produced a ver¬
sion which he sent upon tour. This was
slightly shortened, but was notable for its
general excellence.

Wagner’s version of the beautiful legend
of the Holy Grail and the Grail Knights,
sworn to the protection and adoration of
the Cup from which Christ drank at the
Last Supper, is based largely upon the me¬
diaeval poem of Wolfram von Eschenbach,
believed to have been written about 1300.
Wagner’s love for this legend really dates
from Tannhauser, where it is first sug¬
gested in his works. Indeed, as early as
1857 he began sketches for this work,
which did not acutally reach public per-
formance until a quarter of a century later.

The Story of “ Parsifal ”

it which “Parsifal"

is perhaps tl

r Monsalva

'S'wItlM

ran knight,

unhealing

MOTHER, MY DEAR

£>y tbryccjon Treharne.

££Corps : 6B.UNOWICK, Golumbia, Edison, Path&. victor. \ v&calion

Our Best Selling ballad! Already in it j Pijtb Edition

^r

HAROLD FLAMMER, INC. -sono - Any Kty .40 postpaid

n THE ETUDE when addressing onr advertisers.

The legend of The Holy Grai
beautiful of those of ancient lore.

Act I, Scene I—A Forest nea
novices sleep. A trumpet calls the...
wound. Kundry enters with a l-emedv sniiehtM

fromX^b" Mem .

struck with the'idea e thaTthis l }’outh 1 might he”

be the medium of Amfortas’ regeneration Vi . fuUelcss (mil who u nas . . »»

is produced by moving scenery so that thei J,’,,, f S10n ? f the Journey to tin- Castle lU-
gallery ascending to the Castle Thl.w to |wss through a forest and into a covered

reuth. astR ' Thls “gemous and effective device was first used at Bay-

Scene II —The Castle Hall ,1 1,

Am/orfos is brought in on a eouelfto conduct the W ?, the 1Io, - v Grail ar0 in
light streams down on the Grail The n ■ these, while Pnrsijal stands fascinated as a
wine, aU file out. i t cov< ’ r <’<i and after partaking of the bread and

impatiently thrusts Parsijal out of the tfeW| '

th a et° ga^M"?" 8 °" K ' w, " v ,Mnpt T

triumphs. Fearing his escape, KUnaf or ?’, try the,r ch nrms. Parsifal withstands

to a desert, the maidens

lifal-

apparentlyhfeles^and rmlro^Lr ear p Mon , sa,v!| t- Gumemnnz finds Kundry in a thicket

neTdT m Thev US P ™ ° f '„,° ntcr \ in lhe armor of the Grail knights.
Am^nAnT Pap ? r ? t0 visit Am/orto. Th. th e CastR ’ and Sundry ministers to Pars>fal»
Am/ortag is carried in and healed » cen e changes to the Temnle of the Grai -

Amfortn*Z t0 vi8it Amloriai The „ , and Sundry ministers to Por*«/«

glows, a halo of light descends, C whiled dVe" htefs £ .^V**^*irFSSd? The G»i

uove novers over PartijaVt head as all do him homag«

THE ETUDE

New Records

Just from the Laboratory

By Horace Johnson

Three years seems no very long time it sympathetically, playing quietly and
to have been reviewing records. Yet, evenly, with a phrase here andlhere of
because of the tremendous strides that true, clear harmonics the tones of which
have been made toward perfecting the have registered exceptionally well If
mechanics and techmc of phonographic you find pleasure in music which breathes
reproduction, one feels as if he had of lavender and old lace, powdered wigs
been hearing new records each month and miniatures, here is a proper intro-
for several decades when he listens to duction.

some of the records which were reviewed The Jeritza reproduction is the famous
at the start. As each new list of discs aria Dich Teure 'Halle (Oh Hall of
is released I expect to be interested, and Song) from Wagner’s Tannhauser Mine
possibly a trifle bored as every one is Jeritza’s voice though light and almost
with routine work. But on each monthly effervescent in quality—a tone not asso-
trip from laboratory to laboratory, I find ciated with the accustomed thought for
at least one record which stimulates and Wagnerian roles—has formed a good
revivifies every drop of normal, musical impression on the round black plate Her
emotion and appreciation. shading is exquisite, and, with a fine

Such a record is the new reproduction orchestral accompaniment assisting her
which Mario Chamlee has made for the ably, she sings to a brilliant climax
Brunswick of Chanson Revc from Mas- registering a clear, bell-like yet powerful
senet’s Manon. To be sure, this remark- high note as a worthy finish to her infer¬
ably beautiful lyric aria is numbered pretation.

among my favorite compositions, and For some time there have been requests
thert is every reason to believe that I for a sacred John McCormack record, so
was prejudiced in Mr. Chamlee’s favor Mr. McCormack has sung for the current
even front the moment the disc was picked bulletin a record entitled Jesus My Lord
up to be placed on the phonograph. At My God, My All, As usual, he leaves’
any rate, this reproduction was labelled nothing to be desired. He sings with true
one hundred and an eight per cent because spiritual reverence, with superb diction
because it was enjoyed so thoroughly; and exquisite phrasing. If you need a
and there will lie many like me. One new sacred record for your library, there
excellent achievement that Mr. Chamlee’s is no use for you to look further for you
and Mr. Brunswick’s accompanying aggre- will not find a better reproduction than
gation of musicians have attained is the this.

truly ethereal and dream-like quality Another of our well-known tenors

which permeates the music which Massenet Charles Hackett, sings a record of inter-
wrote in this work. It is impossible not est this month. It is a Columbia produc-
toget this suggestion when listening and tion and the selection is Geoffrey O’Hara’s
watching a performance of the opera, but The Living God. Mr. O’Hara seems to
robbed of its scenic setting and stripped spend most of his time between life and
of its optic appeal, the creators of this death and in a most dramatic fashion,
reproduction have accomplished a great Perhaps you will remember his song,
deal. There Is No Death, which was most

On the same Brunswick list there popular three years ago. This composition
appears an instrumental trio selection, the > s a song of the same vein. It has a
Serenade, of Tschaikowsky played by the most dramatic and expulsive climax which
Elschuco Trio. To all of you who thor- Mr- Hackett sings with fine tone and all
oughly enjoy chamber music this record power. As a record it is well made,
will be most attractive. Tschaikowsky technically and musically,
was the greatest of all composers in Eddy Brown plays Kreisler’s piquant
writing for string instruments and as a little melody Schon Rosmarin for the
proof I point to the String Quartet of April Columbia publications. He has
which the Andante Can labile is the best flooded it with sunshine and happiness
known movement, the famous Trio, which and created a true expression of the joy
is regarded by most musicians as the of being alive. If y° u ar e tired and blue
highest type of writing of its kind and and discouraged there is no better Coue
the popular Fifth Symphony. cure than a 9u ; et listening to Mr. Brown

This Serenade which the Elschuco Trio playing Kreisler’s tune.

Play is one of the smaller and less pre- Tandy MacKenzie, a recent acquisition
tentious compositions of Tschaikowsky to the Columbia roster of artists, delights
but is overflowing with haunting melodic his hearers with an extraordinarily splen-
themes which give you the keenest pleas- did performance of. Ah, Moon of My
ure. The artists have played with pre- Delight from Liza Lehmann’s “In A
cision, fine shading and in excellent Persian Garden.” Mr. MacKenzie has a
balance, with accurate tempi readings. lyric tenor voice which he uses with con-

Fiddle and I. a ballad of thirty years summate skill. At times it Has a striking
ago, is also present on the Brunswick likeness to Mr. McCormack, yet it is
April' list. Elizabeth Lennox sings it individual and truly pleasing. In the selec-
simply and effectively with splendid enun- tion Mr. MacKenzie sings there is much
nation and fine tone. The melody is melodic beauty and many haunting phrases
typical of the era of American music of which he sings most sympathetically,
die time of its composition, but all of you The Edison has. issued recently a good
who knew the song in the heyday of its hand selection which the National Prom'
Popularity will enjoy it tremendously, for enade Band has made of Daughter of Love
Miss Lennox has accomplished a good Walts. It is played in strict time for
reproduction. dancing and would be splendid for out-

The Victor -list offers many excellent doors because of its carrying qualities. It
discs to phonograph enthusiasts. Among is melodic and interesting, reminiscent
a p numbers issued are selections by in theme of Johann Strauss and his famous
'scha Elman, Maria Jeritza and John Blue Danube series.
oLormick. As a complement Eleanora de Cisneros

Mr. Elman plays a Walts in A Major, sings the Juanita, the words by Mrs.
' co topOsfti°f! written in the quaint lace- Norton, of England, to an old Spanish
_ ' e , harmonies of nearly a century ago. melody, for the same list. Ha - v™<-» ,'o

So like a

l 1 minuet is it in construction that big and powerful and full of fire. She
tQ Wot] dered how the composer happened sings with a lazy, seductive feeling which
nanie 't a waltz. Mr. Elman interprets is delightful and interesting.

APRIL 1923 Page 271

Preserve your Art

ON

(Bennett

RECORDS

Increase your
income

Ideal gifts

Dance orchestras. Vocalists, Musicians and Elocu¬
tionists will find Gennett Records (Personal Record¬
ing Department) an efficient means of preserving
their art and increasing their income. We will sub¬
mit, upon request, detailed costs and plans for making
and marketing (if desired) phonograph records of
your orchestra, voice or performance.

Our recording laboratories are in New York and
Richmond, Indiana. Write for full details and prices.

THE STARR PIANO COMPANY

Personal Recording Department **Gennett Records”

9 East 37th Street, New York City - Richmond, Indiana

Manufacturers

STARR PIANOS STARR PHONOGRAPHS GENNETT RECORDS

"The Difference is in the Tone ”

mention THE ETUDE when addressing

advertisers.

Page 272 APRIL 1923

D URING the last twenty years there has
been a. decided and rapid widening of
the field for the professional organist.
Until the latter part of the last century
the use of the organ was practically con¬
fined to the Church, except for its use in
the Concert Halls of England, in the
Trocadero in Paris, and a few instances
in our own country, such as the Cincin¬
nati Music Hall, the Boston Music Hall,
the Auditorium, Chicago and the Drexel
Institute, Philadelphia. There were doubt¬
less some additional instances in this and
other countries, where the organ was used
outside of Churches, but those mentioned
include the more important ones.

Since the beginning of the present cen¬
tury the growth of the field has been
remarkable, and we now have organs in
Municipal Halls
Industrial Plants

Theaters
Fine Homes

THE ETUDE

The Organist’s Etude

It Is the Ambition of THE BTUDB to make this Organ Department
“An Organist's Magazine Complete in Itself”

Edited for April by HENRY S. FRY

The Organist’s Rapidly Widening Field

Auditorium, Cleveland, Ohio, 5 m „„, ,
Skinner, 143 stops. ’ 0 ma >>ual 8 ,

•High School, Atlantic City, N T a
uals, Mirim or, 133 stops. ' ’’ a m »n-

Auditorium, San Francisco, Cal 4
uals. Austin, 121 stops. ’ ’ 4 “an-

Macky Auditorium, Unlv. 0f Color-,
Boulder, Colorado, 4 manuals, Austin, 1x5

Carnegie Music nail, Pittsburgh p„
manuals, Skinner, 102 stops. ’ a -, 4

Eastman School of Music, Rochester Nr v
4 manuals, Skinner, 94 stops. ’ *•>

Sk^92 m dtops: P “ UI> Mi,m " 4 “ a ««als,
City Hall Auditorium, Portland, Maine 4
manuals, Austin, 91 stops. 4

Memorial Hall, Pueblo, Colorado 4
uals, Austin, 88 stops. ’ an '

Music-Hall, Cincinnati, Ohio, 4 manuals

Cornell University, Ithaca, N. Y 4 nin ,
uals, Stecre, 79 stops. ” n ‘

Municipal Auditorium, Springfield Mas-
4 manuals, Steere, 79 stops. ’

Soldiers’ and Sailors’ Memorial Buildine
's. Austin 78

form. The theater organist must have a Good judgment in the making of a pro¬
keen sense of situations that may arise, so gram is always necessary. An instance
that the music may fit the picture as a of this came to the notice of the writer
background. He must not detract from recently, where a well-known organist at
the picture by the playing but enhance its the opening of a new organ in a church,
all providing opportunity for the engage- effect by causing the audience to associate presented to a miscellaneous audience a
ment of competent organists to bring forth the music with the picture, but not be con- long program, about two hours, which
their message of musical inspiration and scious of it. The theater organist should included three numbers by Cesar Franck,
beauty. be of a disposition that will enable him a Bach number, and two movements from

The theater, of course, has been the to be ready to receive suggestions from Organ Symphonies, with several other
greatest factor in this development and the management. Many times the man- selections. Except for its length this pro-
has made, perhaps, the most exacting agers are unfit, through their lack of gram would have been ideal for an audi-
demands on the ability of the organist, musical taste and knowledge, to give ence or organists but was entirely
Being equipped either as a Church or directions; but when they are capable unsuited to a congregation that had come
concert organist only, will not satisfac- they may, perhaps, sense the pulse of the to hear the new organ, and were not pre-
torily supply the demands made on the audience more readily than the organist, pared to digest so heavy a program. The
theater organist. In addition to facile though peculiarly enough an organist can concert organist should also possess the
technic, interpretative ability and indi- sometimes “feel” whether his efforts are ability to adapt music written for other
viduality of style, the successful theater “going over.” instruments, to the organ, in such a manner

organist must be able to improvise, to These suggestions are probably suffi- as to make it effective on the program,

modulate skillfully, and to memorize, if cientto point out the heavy demands made The writer is not at all in accord with
he wishes to reach the highest point in on the theater organist. For those who those who would limit the organ to the
that career. Unfortunately, many of the wish to play the organ and cannot, for use of compositions originally written for
theater organists have not first learned some reason, place themselves in charge that instrument. Let such as need be
to “play the organ.” They begin to “play of a competent teacher, the writer would convinced hear The Afternoon of a Faun
on the organ,” using what piano tech- suggest the purchase of one of the modern (Debussy) played by Courboin, or the
nic they have acquired and adding to that editions of “The Organ” by Stainer, and Midsummer Night’s Dream Overture,
an effort to swing the left foot to and fro, the practice of various exercises contained (Mendelssohn) or Marche Slav (Tschaik-
hither and thither over the lower octave in that work, in the following order: owsky) played by Maitland,

of the pedal board, while the right foot „ , The requirements for the concertorgan-

frantically “pumps” the swell or crescendo usln g ‘both feet, without lookiu^afthe^eer 8 ’ ist cover Poetically what is necessary for
pedal. This type has been very aptly Practice crossing one foot back of the other organ-playing in industrial plants, stores

described by one of our fine theater Practfc" of SSnEd and fine homes; though in such places an

organists as Mrs. Ebeneezer Left-leg. exercises given. added familiarity with music of the

To be a successful theater organist of ei ™“for'two'uahTtingle"noTe^to each H S hter ^ “light also be advisable.

,A WWeot t™. m 1...-. .. th ’ at department of the To give the reader some idea of the

left hand and feet g . rea4 field . we „ ha y e been talking about,

Melrose, Mass., 4 manuals, Austin, 7s
Temple Auditorium, Los Angeles t'ul 4
manuals, Austin, 78 stops. ’’ 4

Auditorium Armory, Atlanta, Ga., 4 man¬
uals, Austin, 77 stops.

Biildwin-Wallace College, Berea, Ohio 4
manuals, Austin, 74 stops. ’

College of the City of New York, 4 manuals
Skinner, 70 stops. manuals,

Convention Hall, Buffalo, N. Y., Emnion
♦Not yet installed.

••Originally built by the Los Angeles Art
Organ Co.—enlarged by the Wanamaker Or
gap Shop.

•••Not yet completed.

Masonic Temim.es

Medlnah, Chicago, Ill., 5 manuals, Austin
92 stops.

Rajah, Reading, Pa., 4
66 stops.

Cleveland, Ohio, 4 nun

Open-air Oat
Balboa Park, Sau Diego,

Austin, 62 stops.

Greek Amphitheatre, tin
Iottesville, Va., manuals,

Bohemian Grow, Colii.

Austin, 28 stops.

manuals, Austin,
uals, Austin, 52

the highest type (not the sensational,
chord scooping Jazz Artist) requires good
piano technic, supplemented by a course
in the technic of organ-playing under a
teacher of the legitimate organ-playing
school—including the use of both feet

Practice e. __ „„ ,

ind for right hand and feet.

--.... the following list from one organ-builder

form—usin^confrastmg a stops a on each will ,. show “ some measure the variety of
that the moving v

nstmcti h conditions under which the organ

After y the practice of these exercises has SOme tbem ver 7 uncommon:

'“"" U - - - dependence of Theatprs

scales on the J™ 8

3 used

. 60 Hotels.

Masonic.36 Institutions .

Residence .29 Insurance Bldgs...

1 and their locations:

Industbial Establish-

playing the pedals, gaining independence brought about the desired 'independence of
of hands and feet, use of. stops, swell J” 1 "' 1 . 8 and |®et, practice of the ’

j < • r . 4, . 1 £ , . pedals is desirable, which ma’

pedals, in fact, a complete mastery of the mented by Nillsen’s Pedal Studl

physical or technical resources of the in- technic. .rx "“*»•—

v in , , , , • , While the student is thus acquiring organ Municipal .12 Open-air Theaters..

strument. When the student has acquired technic, so far as hands and feet Me con- Stores . 8 Odd Fellows. a

the technic of organ-playing his work can ce ™« ! , works should bo studied covering „

be adapted to theater use, either through ffikftXSf*; someM a oTth! f” give

his own ability to so adjust it, or by coach- "’<=11 as recommended books on picture fw , “ . f th . sc ? pe of the instruments

ing with a theater organist of the' highest Eylng ’ * at haye b , een “stalled in buildings other

type. Of course the highest type theater Of course, it is understood that these C U * C ° Ut a !?° may serve as a

organist usually has the ability to give the suggestions are made for those who do per . m “ reference list of large organs
technical training necessary, as well as not have the opportunity to study with

the adaptation of the organ-playing prin- a teacher. It is always more satisfactory Mercantile.

ciples to theater work. Added to this if the student has the benefit of a critical T

equipment the student should acquire the hearing of his work by a careful instructor manual^ Aultta“2®3 U s& Mr’cmthlv
theoretical knowledge necessary to modu- For the concert organist or the munic- • th5°™|an ha^ta t hange of p,nns
late, and if possible, to improvise. The ipal organist, whose duties consist of P° sed Victory Hall in°Philadelphia 6 DeW pr °"
latter requires lengthy and dose study and giving recitals only, the requirements are manuals’ 1 s * ore - Philadelphia, 5

practice for reaching success; and, if the not so great. Here the ability to impro- L ° S A “ geles Art 0r ««" Co., 232

student does not have some natural abil- vise and modulate, while desirable, are not Stor f: New York > 4 inan¬
ity or the time for sufficient study of the absolutely necessary; and, while it is not „ H’otel Art^New Imk?^^nual^Tmtin

subject, it will be far better to limit the essential to memorize, to be able to “forego Grovc>,n,- t an

work to set compositions, using such the notes” probably is a help to freedom uals, Skinner, 53 nn 8 tops ’ •’ N- C ” 4 man -

excerpts as will fit the situations. ’ to interpretation. The concert organist , n ^ a nmi a Y ;ash Register School House, Day-

Very few can hope to attain'such mar- requires an ample brilliant technic, hands Maryland Casualty urn ,

velous ability as has been shown in. and feet, a keen sense of tone color, and ma j? pa I s i S d e «ho, Austin, 3 (i stops. ’

the wonderful improvisations of Marcel the ability to make changes in registration uals Austin,® 25 st°ops PlttSbUrgh ’ Pa ” 3 man -

Dupre, the noted French organist, recently without halting the rhythm. The concert nn“S op ™l tan *r.J? fe insurance Sanatori
appearing in this country, or the late .organist must possess sufficient general lustm,’ ifsto^s ® 8 "’ N ’ Y ” 2
Alexandre Guilmant, another noted organ- musicianship to make possible the arrange-
ist of that country. Another important ment of a satisfactory program, suitable
requirement for the theater organist is to the occasion, and to give an intelligent,
the ability to adapt piano music, orchestral warm, and sane interpretation of the

or other music to the organ, in such a master-pieces chosen to present

manner that it will be effective in its new audience.

1, 12 stops.
Municipal

_ f „ scHo^r^c. AumT0RiDMs '
™“S„?-H 0 ‘.^“i|s EOClie6ter ’ N ’

sun-JSs

Theater Organs

Although many large organs are in¬
stalled in theaters, a large proportion, per¬
haps, are built on either the Duplex or the
Unit Plan, and we will not attempt to give
a tabulated list of these instruments, but
mention a few of the well-known ones,
such as The Stanley, Philadelphia (Kim¬
ball) ; The Palace, Philadelphia (Kim¬
ball) ; The Aldine, Philadelphia (Moller) ;
The Capitol, New York (Estey); The
Rivoli, New York (Austin) : The Stan¬
ton, Philadelphia (Austin); The Rialto,
New York (Wurlitzer); The Roosevelt,
Chicago (Kimball) ; The Allen, Cleve¬
land (Kimball); The Senate, Chicago
(Wurlitzer); State Theatre, Jersey City
(Moller); The Olympia, New Haven
(Steere); Gordon’s Capitol. Boston (Skin¬
ner) ;—not yet installed—Germantown,
Philadelphia (Wurlitzer), and many others.
The mention of Duplex Action recalls the
story of an employe of a well-known
organ builder, who does not approve of
Duplex Action (the use of one set of pipes
on two different manuals). The firm that
he served were furnishing an organ of
three manuals, the Choir organ consisting
of several duplexed stops and a Clarinet.
The employe on noticing it said of the
third manual—“darn thieving—a keyboard
and a Clarinet.”

Residence Organs

Throughout the country are scattered
many fine organs in homes of men whose
names are known throughout the world
such men as Cyrus H. K. Curtis (who not
only has a fine large Aeolian organ in his
home, but also was the donor of the large
instrument installed in the City Hall Audi¬
torium, Portland, Maine, and is the pur¬
chaser of the very large organ heading the
list of instruments in Mercantile and In¬
dustrial Establishments); P. S. duPont
(Aeolian) ; Senator W. A. Clark (Murray
Harris Co.) • Charles M, Schwab
(Aeolian); Henry Ford (Estey) ; William
L. Austin (Aeolian) ; W. C. Runyon (Aus¬
tin) ; C. P. Hagenlocher (Austin) ; Wm.
Chattin Wetherill (Austin) ; Frederick W-
Schmidt (Aeolian) ; George Eastman
(Aeolian) ; John T. Austin (Austin) 1 Ar¬
thur Hudson Marks (Skinner), and many

tee ETUDE

APRIL 1923 Page 273

\Ktfakg,ue,

•rx product of experience and of factory
equipment and organization. The
Krakauer has enjoyed more than a half
century of quality production. It is
built in an immense plant, fully modern¬
ized in equipment and practice and by-
artisans who count their experience with
the house of Krakauer by decades.

Catalog on Request

(AUSTIN ORGANS

PROOF of the invariable aualitv. tonal

(austi

I 165 Wood la

m the list of 1922 3 _|

an area of twenty-nine state*.

of which came through the
:l confidence inspired by the
of formerly built organ*,
stin Organ, small or large, is it-
>qucnt agent for the building of
rhere is nothing finer than a fine
nd whether a small two-manual
itic four-manual, the structural

AUSTIN ORGAN CO.l

land St. Hartford, Conn.

Guilmant
Organ School

Dr. William C. Carl, Dir.

A Distinctive School for serious students.
Master Class. Free Scholarships. Students
aided in securing positions.

Write for Catalog

17 East 11th Street, New York

“ORGOBLO”

f Sy,™,! -ORGOBLO JUNIOR”

THE SPENCER TURBINE COMPANY

HARTFORD 0r8 “" V °"" "^“^CONNECTICUT

PIPE ORGANS

The Emmons Howard Organ Co.

An unusual organ installation is that of
a fine four-manual Aeolian organ in a
greenhouse in the beautiful gardens at

Longwood,” the magnificent estate of Mr.
and Mrs. P. S. duPont, near Wilmington,
Del. A few words about the organ activi¬
ties at “Longwood” may be of interest,
the gardens and greenhouses are open to
the public from eleven until six o’clock all
week-days, holidays, Saturdays and the
first and third Sundays of every month.
There is a small fee of twenty-five cents
charged on Saturdays and Sundays, which
is turned over to any hospital in Wilming¬
ton or West Chester, designated by the vis¬
itor. No admission charge is made on
other days. For the past year two-hour
organ recitals have been given every Sun¬
day afternoon, and these are open to the
public the first and third Sundays of each
month, at no additional admission charge.
The Sunday attendance has averaged
around one thousand, and has even reached
the twenty-eight hundred mark. In this in¬
stance not only do these activities give op¬
portunity for engagements to organists
(different organists appear), but result in
a magnificent offering to hospitals through
the large amount paid by visitors for ad¬
mission.

Radio Broadcasting and the Organ

Another and newer element that has
added to the organist’s opportunities is the
wide use of radio broadcasting. Here the
organist is not only benefited by the
opportunity for engagements, but also by
the large amount of publicity given as a
result of the immense audience “listening
in” not only from nearby points, but also
at far distant ones. Already the largest
organ in the world (in the Wanamaker
store, Philadelphia), is being broadcasted,
which is true also of the organs in Kim¬
ball Hall, Chicago, the Estey Studios in
New York city, Carnegie Hall, Pittsburgh,
numerous churches and the home of Dr.
Herbert J. Tily, near Philadelphia, which
is broadcasted through the mercantile
establishment of Strawbridge & Clothier,
Philadelphia, of which Dr. Tily is an exec-

We quote from an editorial in the Febru¬
ary, 1923, Etude —“Radio has torn down
the walls of the concert hall and admitted
the multitude. The pianist can play to a
hundred thousand now, instead of to five
thousand. Every time he plays there are
hundreds listening who would like to play
as well, who will employ teachers to teach
them.” We quote also from an editorial in
the January, 1923, issue of The Diapason —
“We may be wrong, but it seems to us
from a close survey of the news of the
organ world every month that the
organ recital is more in demand than per¬
haps ever before. Not only do great artists
play before crowded houses, but there is
more and more interest in church recitals
and the competition of the radio and the
phonograph seem only to whet the appetite
of music-lovers.”

Surely there are many opportunities for
the organist who is wide-awake, competent,
and willing—both to fill these various en¬
gagements and to prepare others to fill
them.

As in all professions, the humorous side
also makes its appearance occasionally in
connection with the organist’s work, and
some incidents may be of interest to the
reader. Many stories have been printed
about the late William T. Best, the emi¬
nent English organist, but to the writer’

advance of publication offer

This standard work will be added to the
-7sser Collection. Our new edition, now
preparation, will be superior in all respects

FORTY-FOUR studies
FOR THE ORGAN

With Special Regard to
Obbligato Pedal Playing
By J. SCHNEIDER Op. 48 standing of the true organ style.

Advance of Publication Cash Price, 30 cents, postpaid
THEODORE PRESSER CO., Music Publishers and Dealers, 1710-12-14 Chestnut St„ Philadelphia

■e practically indispensable to every organ
udent. After one has finished the' first in-
ruction book, studies of this type are needed,
hey are intended to develop a thorough
jdal technic together with independence of

Please mention THE ETUDE when addressing oi

knowledge the following one has not yet
appeared: A young man was engaged in
working on an organ on which Best was
to give a recital. The Clarinet stop for
the instrument arrived on the morning of
the day on which Best was to play, and the
young man told him not to use the Clarinet
but that it would be ready for the recital.
The first stop drawn by Best was the Clari¬
net, and turning to the young man, he said,

“Do you call that a Clarinet—that’s a-

of a Clarinet!” The young man, having
had experience with Best’s eccentricities on
former occasions, and having always here¬
tofore meekly endured them, let loose on
Best and gave him a dose of his own medi¬
cine. When he had finished, Best laid his
hand on the young man's shoulder and said,
“My boy, now I think we are beginning to
understand each other.”

One of the most prominent concert or¬
ganists in this country was engaged to play
a recital in an auditorium in a Western
city. The auditorium, it seems, was used
for other purposes than the refining influ¬
ence of music, and shortly before the date
scheduled for the recital, a prize fight was
staged. The Mayor of the city was on
hand for the fight (we are not informed
whether he attended the organ recital) and
the top of the console of the organ ob¬
structed his view of the fight, consequently
that portion of the console was removed.
The boy who carried the water stumbled
and spilled the bucket of water into the
console, with the result that when the or¬
ganist arrived the combinations had to be
set with a wrench on account of the rust
and verdigris. To emphasize the refined
atmosphere in the auditorium just as the
organist was about to begin to play, a
boy went through the auditorium shouting,
“Peanuts, pop-corni”

In a town of Ohio an organ was installed
in a college, the contract being that the
builder was to furnish the organ, ready to
play. The college furnishing its own elec¬
tricity and other utilities. When the in¬
strument was finished the president charged
the organ builder’s account with coal for "
lighting, power for organ, heat while tun¬
ing and the engineer’s time. This was, of
course, unusual, but, as the president
seemed to have the best of it, the man who
had erected the instrument showed himself
“sport” enough to stand for it. A little
later the president of the college wishing
the console of the instrument lowered two
feet, inquired of the young man as to the
cost. The young man made the job seem
so large that an elaborate estimate was
necessary and named his figure at $375,
which was far in excess of the cost of the
work, which required less than a half-day
for its accomplishment. The college pres¬
ident, who was also a “sport,” realized
that the young man was getting even, and
paid the bill.

A Dictaphone Story

In a very ritualistic church in one of
the large cities in the East, the new organ
was equipped with a dictaphone device by
which the tone of the organ was carried to
the choir in another room. This room was
also used as a school room, presided over
by Sisters connected with the church. The
dictaphone is so arranged that it can be
switched “on” and “off.” By an oversight,
it was % allowed to remain “on” while a
tuner in the organ, who was not aware of
the fact, took occasion to give vent to his
feelings over some troublesome reed pipe,
in language that was, to say the least, not
edifying to the Sisters and pupils, as it
was carried to the room through the open
dictaphone.

In a certain church in Philadelphia was
an old organ that apparently gave the or¬
ganist much trouble, especially a certain
“C.” The tuner, arriving one day, found
a note reading, “O that C.” The tuner
went inside the organ and securing a
washer that had crumbled almost to dust,
put it on the key-board with a note read¬
ing, “O ‘see’ this.”

The dread Pyorrhea i
begins with bleeding gums

D YORRHEA’S infecting germs cause
1 many ills. Medical science has

Many diseased conditions are now
known often to be theresultof Pyorrhea

Pyorrhea infection.

Don't let Pyorrhea work its wicked
will on uour body. Visit your dentist
frequently for teeth and gum in-

A nd watch uour gunu vountlf
Pyorrhea, which afflicts four out
of five people over forty, begins ji

progress—if usea in time ana
used consistently. Ordinary den- . Ji >

tifrices cannot do this. Forhan’s ™ 'EtfH

keqpsthegumshardandhealthy

Startling it today. If gum-
han’s according to directions .
diately for special treatment

35c and 60c tubes in XMW. ,<c d

U. S. and Canada. ^

2zf'

Kill The Hair Root

v, 253-A. Mahler Park, Providence. B

A Song for “Mother’s Day”

MOTHER

Music by

STANLEY F. WIDENER
The text of this song is beautiful in its
description of all that seems so much bet¬
ter, sweeter and dearer because of mother.
The musical setting is a worthy dedica¬
tion to the composer’s mother.

Catalog No. 17956 Price, 50 cents

THEODORE PRESSER CO., Phila , Pa.

MOLLER
PIPE ORGANS

Americas Leading Instruments
We build organs for every
place and purpose. Every
organ specially designed and
built and fully guaranteed.

No organ too large or too
small to interest us. Refer¬
ences—thirty - five hundred
churches and institutions;
also leading organs of the
country.

Booklets and specifications

M. P. MOLLER

Hagerstown, Maryland

advertisers.

addressing

Page 27 4 APRIL 192S

THE ETUDE

THE etude

APRIL li

Page 275

STEGER SONG
BOOK

111 Favorite Selections

Pi anologues

EVENTI

DE

w|

IS '

MS

WHAT THEY SHODIDKNOW

^ FOR SALE AT

Question and Answer Department

Conducted by Arthur de Guichard

Musical

Composition

for

Beginners

by

ANNA HEUERMANN HAMILTON
A Practical Course in

Original Composition

i TEACHER.

fsr K

™ 6 'e of a mor? f 886 “ S

fslslSSI

Price, $1.00

THEODORE PRESSER CO.

Page 276 APRIL 1923

Joachim on Cremona Violins

Joachim, the famous violinist, who was
for many years at the head of the Royal
High School of Music in Berlin, and who,
during his life-time was considered the
world’s greatest violinist, was a great
authority on Cremona violins as well. C ‘
these violins he said, “With respect i
the violin makers of Cremona, I am (
the opinion that the palm should be
awarded to Antonio Stradivari, in whose
instruments are combined the tone-pro¬
ducing qualities which the other great
makers have been able to bring forth only
individually. Maggini and Amati were re¬
nowned for the delicacy and sweetness
they imparted to their instruments, but the
union of liquidity and power is more espe¬
cially noticeable in the violins of Joseph
Guarneri del Jesu and Stradivari.

“I often wish I were a wealthy i
' 1 order that I might make a really c

The Violinist’s Etude

Edited by ROBERT BRAINE

It is the Ambition of THE ETUDE to make this Department
“A Violinist’s Magazine Complete in Itself ”

Bowing, Fingering and Shifting

Every now and then some one writes would move up and down at the same time,
to the violin department and asks for the and the kind of bowing would be uniform,
rules of fingering, when shifting, also how In symphony orchestras, the director in¬
to tell what variety of bowing to apply to sists that all the bowing shall be uniform,
various passages, where nothing is marked This is brought about by the fact that
in the music. They evidently imagine that the parts are marked by the leading first
. - - a few short rules can be formulated, by violin (concert-master). The director and

plete collection of violins. I would pur- whjch they can lx)w and finger any pas _ con cert-master decide what kind of bow-

chase one of every period, so that I might

learn and become familiar with the individ- .

noUtir isf oooli Qf Ai no *• i

sage in music where it i

uality of each maker. Stradivari seems t
have given a soul that speaks and a heart
that beats, to his violins; for the player
seeks and finds a sympathetic echo t

t specifically ing is to be used, s
players will execute

i that all the violin
i given passage with

t the essence of fundamental ti
Joachim during his life-time owned s
eral Stradivarius violins, one of which was
presented to him by his English admirers
in London.

Never Too Late

Now the fact of the matter is that it the same kind of bowing. The phrasing,

requires an immense amount of study and length of slurs, use of harmonics, etc., are

experience before the student is competent decided in the same manner. The violin-

.. , . . . ■ , , . to bow and finger music which is not ists must play as one man, in every

emotions; and this is thejecr*of bring- marked _ or to correct the bowing and respect .

" c r "' c ‘ fingering of music which is wrongly Where the parts are not specifically

marked, and this latter includes an im- marked, or marked incorrectly, as in much
mense amount. music of the theater orchestra type, how

There are thousands of sheet music pub- often do we see violinists sitting side by
lications and music books for the violin, side, each playing the music according to
in which the most important passages are his own ideas, which often radically
left unmarked, or are marked in a way differ.

which is quite contrary to the rules of Good violinists play music correctly, no
It is simply astonishing what obstacles good violin playing. Composers, pianists matter how it is marked, because of their
people who really love the violin will siir- and players of other instruments, are con- great experience in playing compositions
mount ; and it is also noteworthy how much stantly trying to edit violin works, when which are marked correctly. They have
pleasure can be derived from violin study, their knowledge of the violin is so limited learned the rules of the art, and instinc-
even if taken up at an advanced age, pro- that they make a pretty mess of it, and tively bow and finger correctly,
vided the students are content to play the student who has not yet arrived at a The student should devote much atten-
music of moderate difficulty. stage where he knows how to do the tion to the rules of bowing and fingering,

Mr. Edward H. Fulton, of Clinton, Iowa, work himself, struggles along in a blind which he can learn by playing scales,
a reader of the Etude, writes to the Vio- and aimless way, trying to play them. standard studies and solo pieces, all of

linist’s Etude as follows, about his violin which are correctly marked. If he is to

study : “I am fifty-seven years old and Good Editions become a teacher it will be necessary for

play the violin for my own amusement at Students of the violin will often notice him to have this knowledge, in order to
home. I never tried the violin or other in- in compositions issued by the better class mark, or correct the music of his scholars,

strument until just eleven months ago. of publishers, the words “Edited by-”, and tell them the whys and wherefores

“The reason I play is because I am printed at the left of the first page of of bowing and fingering. If he is to be
totally deaf, and cannot hear any one else the composition, opposite to the name of an orchestra player, he must be able to
play. I “hear” my violin by vibration, via the composer. This means that the flub- play the music in a violinistic manner,

chinbone, collar-bone, etc. I can tune my lisher. has engaged a competent violinist
own violin and can tell a fraction of change to edit the work, i. e., to mark the bow-
in pitch.” ing, fingering, where the shifts are to be

Mr. Fulton takes great interest in the made, passages which are to be played
problem of learning the vibrato, and other upon one string, the up and down bow
technical difficulties of violin playing. He signs, the particular kind of bowing which
has some excellent ideas as to mastering is to be applied to certain passages (espe-
the vibrato in the shortest time. He writes : dally as regards the various forms of stac-
“To learn the vibrato in one week, as to cato, spiccato, bouncing bow,
the principle, but lacking, of course, fin¬
ished development and control, that

l if incorrectly marked.

The Only Way

Now, how is the violin student to at¬
tain the knowledge which will enable him
to execute violin music, in the best man¬
ner to express the intentions of the com¬
poser, even where everything is not spe-
also the eifically marked? There is only one way
expression marks, dynamic signs, etc. and that is to study the violin, as if he
Good editors of violin music are scarce, were studying architecture, civil engineer-
come only from practice, by a student able and many a violinist has built up an en- ing, or higher mathematics. The best

to play only simple melody tunes, I suggest viable reputation by his skill in editing exercises and compositions ’ which have

a careful reading of your article on violin music been correctly marked by master violinists

the Vibrato, m the November, The standard violin studies, and violin must be studied. Above everything scales
1922, Etude. Take the song or melody of solo compositions are usually marked the and arpeggi in all keys and positions must

Lorena; transpose it or play it one octave best, and the viol'n parts of orchestra be constantly practiced. The studv of a

higher than the voice notes, in the third music the worst. Indeed, a great deal of work like Shradiecks’ Scales where scales
position which places the notes to be played orchestra music, especially that intended in all keys and positions from the ton to
especially pathetic or vibrato, under the for theater orchestras, and orchestras be- the bottom of the fingerboard and scales
fingers the most easily operated. The thrill low the symphony grade, is hardly marked in chords, all correctly fingered are me,
or sentiment of the old song makes the at all. Instead of bowing marks we often in thirds, sixths, octaves and tenths will
brain and fingers coordinate in a way not find only phrase marks, and very little fin- be a great help. A student who has ’care
found in purely mechanical practice. I gering. The idea of the publishers of fully studied this work, and remembers'

feel sure what I did in one week m the music of this kind is that it is intended for how the various passages are olaved

vibrato could be done in even a shorter the use of players who know their in- hardly go amiss in fingering scale

time by a younger person strument, and can play the music cor- sages, and double stops. Then the studies

Mr. Fulton is quite right in his theory rectly, regardless of the marks. Of of Kayser, Kreutzer Fiorillo Rnd
that playing songs with much sentiment course it would be better if music of this Paganini Sevcik and others the ’ d !i
and expression in the third position, is a type was correctly bowed and fingered, violin concertos,’ and miscellaneous mm
valuable way to get the idea of how to exe- especially . for the sake of students who positions for the violin offer 7 ,

cute the vibrato. What the brain feels, the have not had sufficient experience to ad- ing mine of knowledge for the ^ "

fingers will learn to execute. While- a mit of their bowing and fingering the solving of violin problems Let the

finished vibrato coqld not be acquired in a music at sight correctly. It would also dent try to remember how the •
week, the germ of the idea of how to exe- be an advantage to have the bowing cor- problems are solved in these wo tJ an0U j

cute it might be learned in that time. Like rectly marked, so that where there is more he will know how to conquer them h

learning the trill, it takes a long time to than one violin player to a part, the bow- he meets them ir - • • en

acquire a really artistic vibrato.

ing would be uniform. All the bows bowing or fingering is not marked.

composition where the

THE ETUDE

A very good plan is for the student to
get violin music which is either not
marked or incorrectly marked, and try to
work out the correct manner of playing it
for himself. Books of first violin parts of
orchestra music, can often be obtained
from the publishers. Let the student re¬
mark and finger such parts for himself,
to the best of his ability, and he will find
that vastly increased knowledge will re¬
sult. On points where he is in doubt, he
can consult his teacher, if under instruc¬
tion, or go to his books of studies, and
try to find a solution, if he is not.

Pupils’ Concertos

It often happens that the reputation of
a composer rests on a single composition,
or small group of compositions. A case in
point is the Student Concertos for the vio¬
lin, with piano accompaniment, written by
Friedrich Seitz, a German composer. These
useful compositions happened to fill a
niche in teaching material for the violin,
where there was not much material of a
similar character, and the result was that
these Student Concertos came into general
use by teachers all over the world.

While not possessed of great depth of
striking originality as to thematic contents,'
the concertos are, withal, pleasing in char¬
acter, and are useful in giving the pupil an
idea of the violin concerto form. The piano
parts are well worked out, and the con¬
certos are effective for pupils’ recitals, and
interesting to the average audience, when
played in public.

The difficulty of the concertos ranges as
follows: No. 1, in D, first to fifiii position:
No. 2, in G, first position; i\o. 3, in G
minor, first to fifth position: .7. 4, in D,
third position; No. 5, in D first position.

Those which lie entirely in the first posi¬
tion, can be played by pupils who have
thoroughly mastered the First Hook of the
Kayser studies, Op. 20, and material of
similar difficulty. Nos. 1, 3 and 4 are more
difficult, and can be mastered only by a
student who has thoroughly studied the
three books of the Kayser studies, Op. 20,
and has played the first ten or twelve
studies of Kreutzer, or material of similar
difficulty.

The concertos are mostly in three move¬
ments. They are in easy k , lie well
under the fingers, and arc \ :>.iinistic in
character. In the more difficult ones, there
are good passages for spiccato bowing,
harmonics, and left-hand pizzicato, and for
cadenza work. Above all they tire popular
with violin students, who enjoy practicing
them.

Friedrich Seitz, their composer, was
born in Gunthersleben, Germany, near
Gotha, in 1848. He studied under Uhl rich
in Sondershausen, and later with Lauter-
bach in Dresden. He became musical direc¬
tor in Sondershausen, and later concert-
meister in Magdeburg. He became court
concertmeister in Dresden, in 1884. Among
his compositions are miscellaneous pieces
for violin and piano, Op. 41, 45, 47; 3
trios Op. 42, and the pupils’ concertos for
the violin.

Renewing Interest in an Old
Exercise

By Celia F. Smith

Very often a child becomes discouraged
or loses interest when asked to review an
exercise for the next lesson. When this
is the case the exercise usually shows very
little improvement even though it may
be reviewed for several lessons in suc¬
cession.

Sometimes interest may be renewed by
giving a name to the exercise, or by writ¬
ing words to fit the melody. Let the
child suggest the name and help with the
words as much as possible.

THE etude

Little Hints The Virtuoso’s Repertoire

tn screw * uner which is attached The m ind of the virtuoso is not unlike

wh' h , ai piece to tune the steel E string, that of the safe-deposit vault of the mod¬
al ^ j S , COme ' nto suc h general use, is ern hank. It usually goes on acquiring
so . “ sed ” y many players to tune the deposits until great treasures are acquired.
True-Tona ,, ee , , T? 611 hiat is used in addition to A Httl e look into the repertoire of Rubin-
Saxonhnn* ,, e , Ir 7' cou ld also be used with stein'gives an idea of what is thus accumu-
Easiestof all wind instrm ‘ he stc ‘ el but very few players use more Iated - when Rubinstein was at the head
men ts to play and one of the tilai ] tle stee * A and E. These tuners are ot " the Petrograd Conservatory he played
n*theecaie*in an hou°u 8 nraS f ed - als ° by many cell ° Payers for the from memory for the students every
wMki ay Y°S“canTa'ki cina A strmg ‘ Wednesday and Sunday night from 1883

90 iilyMf ® ne °f the greatest objections to steel to During that time he rendered

orchftodBc™? strings for the violin is the difficulty of astonishing programs, including 1302 pieces
chestra’dance music. °* man< t torm- tuning them. This is entirely overcome by Rom composers. He played 10 pieces

Free Trial BS”Xrorderauz the screw tuners which make the tuning from the old English composers, Bird,

.ntwinmtn,,!--—»»—5!I,**" speedy and exact. ' John Bull, Gibbons, Purcell and Arne; 43

Violin solo players, and most symphony P ieces from the old French composers,
men use the steel E, gut A, gut D (either Dumont, Louis and Thomas Couperin,
plain or else wound with aluminum wire) Rameau and Lully; 56 from the old Ital-
- dispiaced’by^axophones'in aii ?" d gUt , G ’ wound with silver wire. I jans, among them Frescobaldi, both the
“ioiin“ r ceT!o C and a ba° phone Book know a * cw symphony men, however, who Scarlatti, Durante, Porpora Sacchini, Sarti,
M “AW 18 and use the steel A with patent screw tuner. Galuppi, Martini and Clementi; 1193 from

Dance players, playing in the open air, German composers, among whom were
" whence it is very damp, often have to represented J. S. Bach, in 180 numbers;
elkhart.Tndiana use E, A and D steel strines. Some nbv- Handel > 112; Mozart, 16; Schubert, 37;
. .— ..also subject |||ji 11 ‘ ™ ” ’ ’ ’

mvu „._ - he Nation's Recor^Makersf 0

Saxophone Book Free ..

copy. ---» O

plete catalog will bexnai.ed free.

buescher band INSTRUMENT CO.

Makars of Everything in Band and Orchestra

WM. A. LEWIS and SON

225South Wabash Av«., Chicago

"'SSZf'Z&SSZ «*+

VIOLINS and CELLOS

Sold on Time Payments

GENUINE ITALIAN STRINGS

Send for Violin and Cello Catalogue

A. J. OETTINGER

Musicians’ Supply Company
LaCrange Street Boston, Mass.

3 such profuse per- Weber > 11 ; Moscheles, 21; Mendelssohn,
spiration of the fingers that they can keep 60 ’ Schumann, 155, and Beethoven, with

only steel strings on their violins. ad ^is sonatas for the piano alone, his

There has been a marked increase in var ‘ at ’ ons and bagatelles. Further, Rubin-
the popularity of the violin, since the in- stein pIayed 18 pieces from Field, 158
vention of the little screw tuner which fa- from Ghopin and 63 from Liszt; also from
cilitates the tuning of the steel E, since a11 llis contemporaries in Germany, France
this makes it so much easier to keep the and Russ!a > an d from a few older, well-

violin in tune. If all the strings of the known German composers like Frohber-

violin would keep in tune as long as those ger > Muffat, Tomaschek and Lachner. He
of the piano, so that the instrument would won lligh P raise from all this and retained
be always ready for use without tuning, his ? ,ace as Director of th e Institute. He
the number of violin students would no decl,ned a tour oi fifty concerts for which
doubt double or quadruple within a short an Americ an manager offered him half a
time. The nuisance of tuning, and of milIion francs,
breaking strings, keeps thousands from -

studying the violin Auditions

1 he player-piano became a great popu-

success, because it would stay in tune . An “audition” is a hearing, as, when a
sings for an operatic director with
of getting an engagement, or when
a student sings 'or plays for a teacher or
musical authority, with the idea of getting
an opinion as to his talent or of probable
chances of success in his musical ambitions.

Years ago it was customary with many
teachers, and musical authorities, to make
no charge for an audition; but in the
present era of commercialism the teacher
fails to see why he should give up from
generally ^ ^ of his time for noth ' n S> unless

. ^ he is verv sure

six months or a year with one tuning. The sin 8 er sin gs for
player-violin failed to sell, very largely be- ‘ *

cause of the difficulty of keeping it in
tune. An ordinary purchaser could not
tune it at all accurately.

Practice With the Mute

By William V. Kozlenko

Early morning hours

i the best for practice.

tcwguueu aa uie ucdl im pi oeuec. The .. ,, ,

mind is clear and keen for the work; the pug ' therc 'k y '

he is very sure he will gain a desirable

Bad,aching teeth!

Jhey are dangerous to health. Treat them
regularly with Dent’s Toothache Gum. It
oes four things for bad teeth.

DENTS

TOOTHACHE GUM

1. Stops toothache instantly.

2. Cleanses & protects cavity.

3. Retards further decay.

4. Destroys all odor,

creosote or harmful Ingredients.
" - 7 up like liquids At all

nail upon receipt of price.
C. S. Dent & Co, Detroit.

The custom of charging a fee for an
audition is getting to be well established
among the more eminent teachers and
musical authorities in the larger cities.
The fee varies, some teachers charging the
same fee as that they get for a lesson,
and others more. One famous violin
teacher charges $100 for an audition. He
examines the . applicant thoroughly, hears
him play, tests his ear for correct into¬
nation, determines his talent for rhythm,
By this ascerta ‘ ns fi‘ s circumstances, talks with
„„„ him, and in every way tries to judge his
musical temperament and character. This
might seem to be a large sum to some
people for an opinion as to one’s musical
ability. However, there are many cases
in which first-class expert information as
to one’s talent would be cheap at five times
the price. Many violin students try for

physical self is in its most responsive con-

Many of us cannot practice in these
early hours, more particularly because of
fear of disturbing other members of the
family or, worse still, our neighbors. If
we wait till after the day’s routine labors,
the mind is not so clear and we cannot
accomplish our best.

A good way to avail ourselves of these
early hours, and without disturbing any¬
one, is to practice with the mute,
means we can hear all we do,
sure ourselves of its musical qualities, and
all this without fear of annoyance to
others. At the same time we can con¬
centrate much better, because we are free
to give our full thought to our work with¬
out other considerations.

A little care must be observed not to the prQfessionj s di the best ars of
pract.ce unreasonably with the sordino lest thdr Hfe _ and thousands of doll / rs . nnlv

- , . .. , , their life, and thousands of dollars, only

Z** °Ll!!, n £ to with failure in the end. They

have gone to a first rate violin au¬
thority and asked for the truth about their

deaden

ment of the music. When necessary
practice with the mute, for reasons

.1 . , Liiuiuji eluu asiicu i ui uic iruui auout ineir

boned, it would be better to devote most vioHnistic ability> and conseque ntly have
of this time to technical studies, reserving wastcd their time and money t ; to
pieces with interpretive qualities till they do some thing for which they were not
can be practiced without such limitations, fitted by nature, lacking the talent and
Of course difficult passages of any pieces temperament which it requires to be a
may be practiced at this time for the mas- really, successful professional violinist,
tery of their technical problems. No one would buy a $10,000 violin, or

When waiting in the dressing room the an oil well, or a gold mine, without get-
concert player may “warm up his fingers” ting all the expert information he could
by practicing with the mute, without fear as to whether he was getting the worth
u addressing ^ attracting the attention of the audience, of his money. On the contrary, parents,

APRIL 1923 Page 277

or pleasure or profit—
"sed by famous
catalog of any

REPAIR ALL INSTRUMENTS

the VEGA CO.

Columbus Avenue BOSTON, MASS.

Gemunder

1846 the VIOLIN NAME OF FAME 1922

ALL KINDS OF VIOLINS

For all Kinds of Players
MODERN USED & ANTIQUE

HUGU5T GEMUNDER & SONS

Violin Makers, Repairers and Dealers, Exclusively
141 WEST 42nd ST., NEW YORK

Faust School of Tuning

ARE YOU WELL DRESSED ?

franklin Institute

- / Dept. R647
, Rochester, N. Y.
Send me AT ONCE

/ free sample lessons n
the subject here checked.

D Dress Designing □ Millinery

Address.

jfleaae mention THEKTUDU when addressifil
Our advertisers.

Page 278 APRIL 1!

TEE ETUDE

A System

of Harmony

For Teacher and Pupil

iSF&s&gs*vsust 2KH&S33SH5 IE

earnest ''' h ‘ oh /‘“J in FS7. illustration of a competent teacher the text -

JSSS&

& SJA:S s EH £B®SP *“*

Se 5£S5 r ™““

Other Special Summer Study Courses
Pages 282, 283, 284, 285 and 286

Page 280 APRIL 1928

A DEPARTMENT OF INFORMATION
REGARDING

New Music Works

AND OTHER MATTERS OF INTEREST
TO MUSIC BUYERS

NEW WORKS.

Advance of Publication Offers—

Advisability of Ordering
Diplomas, Medals and
Other Awards Early

April, 1923 Spe pHce ffer

Collection of Anthems and Oratorio

Choruses .

Elementary Etudes, Op. 161—F. T. Liftl

Exhibit..

First Piano Lessons at Home—Hamilton
Five First Position Pieces for Violin and

Piano—A. Hartmann.

Forty-four Studies for the Organ — J.
Schneider, Op. 48 (See Organist’s

Etude, Page 273) .

Golden Memories—Mrs H. B. Hudson. .
Golden Whistle, The, Operetta. .Forman

In the Forest — Grunn .

Intermediate Study Pieces.

Let’s Go Traveling, Operetta, Dodge. . . .
Mazas’ 30 Special Violin Studies, Op.
36. Book 1 (See Violinist’s Etude,

Page 278) .

Musical Progress—Finck.

New Four-Hand Album .

New Instruction Book — John M. Williams

Newman Album of Classical Dances.

Oratorio Songs — 4 Vols. (See Singer’s

Etude, Page 269) each.

Sacred Song Albums — High or Low Voice

(See Singer’s Etude) each.

Secular Mixed Chorus Collection.

Seventeen Short Study Pieces—Green-

wald .

Short Melody Etudes—Bilbro.

Six Piano Pieces—Huerter.

Sixteen Recital. Etudes—Schytte.

Song Hour, The, Book 1.

Song Hour, The, Book 2.

Suggestions for the
Commencement Program

For this most interesting event in the
school year there is now available a large
variety of appropriate music such as
choruses and part songs and other num¬
bers. We publish a considerable list of
such material and also stock everything
of the kind for which there is a demand.

As a help to those who are looking for
commencement music we call attention to
these unison choruses, In May, Good
Night, Spring Song, by Wilson'; Fealty
Song, Spooner; The Swing, Ward-
Stephens; Anchored, Watson; two-part
songs. To the Blue Bird, Williams;
Lightly to Stately Measure, Gluck; Moon
of the Springtime, Woodcock; three-part
songs, Rainbow Song, Gest; Eyes of
Childhood, Morrison; Song of the Morn¬
ing and Beautiful Stars, Wilson; soprano,
alto and bass, The Owl and Echo Song,
Gest; Jolly Tars, Stults; Out O’er the
Deep. Wilson; four-part. In The Pride
of May, Ferrata; One More Song and
De Time for Steepin’, Wilson; Love’s Old
Sweet Song, arranged by Bliss. These
are listed as suggestions, but we have
many others of each classification. Any
of the above or others may be had on
approval. Prompt service and liberal
treatment at all times.

New Four-Hand
Album

From time to time we have published
very successfully four-hand albums, made
up from the special large plates. We
now have in process of compilation a
similar new album which will include in
its contents exceptionally bright, me¬
lodious and attractive duets of inter¬
mediate grade. There will be original
four-hand pieces, transcriptions and ar¬
rangements in about even proportion.
Modern and contemporary composers are
represented chiefly. This will prove to
be one of our very best duet books.

The special introductory price in
advance of publication is 30 cents per
copy, postpaid.

Every year at commencement season
engrossers and engravers are over¬
whelmed with last-minute orders, but the
thinking teacher or responsible individ¬
ual of any school avoids disappointments
and hurried workmanship through being
caught in this crush of business. Even
where special lettering is not desired on
a diploma, or special engraving is not
required on an award in the shape of a
medal or pin, it is advisable to make an
early selection and thus make certain of
having awards on hand at the proper

In order to assist teachers and schools
needing awards for this season’s grad¬
uates or honor pupils a number of sug¬
gestions have been made on another page
of this issue along with some program
suggestions.

Our stock forms in certificates and
diplomas cover practically all needs of
the music teacher and are arranged to
accommodate special lettering if desired.
The Musical'Jewelry Novelties we have
to offer are very popular and there are
nominally priced pins that will help
encourage little students; for older and
more proficient pupils there are other
styles up to a very excellent Medal that
may be had in gold or silver. Our “Music
Teachers’ Handbook” describes all, and
shows illustrations of many, of the cer¬
tificates, diplomas and jewelry items we
have to offer. This catalog also covers
many other helps for the teacher and
every teacher desiring one of these hand¬
books needs but send a postal request in
order to obtain a copy gratis. Please do
not forget the admonition to act early.

An Ideal Service
By Mail

There is practically no limit to the
service rendered to music teachers through
the mails. Without this service fully
four-fifths of the musical profession would
be obliged to depend upon most inade¬
quate and inefficient sources of supply.
This is true particularly as regards music
for teaching purposes, a condition diffi¬
cult to change because as a rule it is not
profitable for the average dealer to in¬
vest heavily in supplies of that character
and a limited stock obviously excludes
many important items.

Our policy for forty years has been to
publish teaching material for all grades
of music study and to carry as complete
a stock as possible of all kinds of music
and we now have, in all probability, not
only the largest, but also the best, as¬
sorted supply to be found anywhere. Yet
it is one thing to have this and quite an¬
other to place it at the disposal of
customers scattered from one end of the
country to the other; this, however, is
made possible by a well planned mail
order service supported on the one hand
by quick transit of orders in the mails
and on the other by a trained, capable
force of order clerks. The result is not
only prompt service, distance considered,
but also a steadily increasing number of
satisfied customers who have learned to
depend upon us as a never-failing source
of supply.

Music teachers not familiar with our
system and who are looking for fresh,
practical and attractive teaching material,
or who are interested in getting the best
service, should write for catalogs and a
circular describing the “On Sale” plan.

A Home Entertainment
Program With Your
Talking Machine

Some few months ago we presented to
Etude readers, who are so fortunate as
to possess a talking machine, a suggested
program for a evening’s entertainment in
the home. This list proved quite popular
with our patrons, and, in response to
demands for a list of a similar nature,
we are presenting this month a program
that we feel certain will meet with uni¬
versal approval.

Parts I arid II. Victor
Light Opera Company
!. To a Wild Rose

Venetian Trio

!. Flirtation

McCormack and Kreisler
l. Last Night

Mme. Homer and

Miss Homer
Festival at Bagdad (Sche-
' | j&M*- am nphony

r. Serenade — Chantez, riez, dor-
mest (Sing, Smile, Slmnher) ^

PART II.

3. IjC Fere de la Victoirc

Journet 6

). Adagietto (L’Arlesienne)

Kreisler & String Quartet 6
). Si vous Vaviez compris

Caruso-Elman 8
l. Voce di primavera (Voice '

35551 $1
18208
87549 1

87570 1

74593

64912

13. Sextette from L

74488 1

64834 1
95211

We can supply any of these records
from our large and comprehensive stock.
All purchases of $3.00 and over are sent
by parcel post, charges prepaid. Send
for catalogs of Victor and Brunswick
records, Brunswick Phonographs and
Victor Victrolas; gratis upon request.

Etude Prize
Contest

As announced last month, the time for
the close of the Etude Prize Contest has
been extended to July 1st, 1923. In addi¬
tion, the amount to be awarded in prizes
iias been increased; a complete announce¬
ment will be found on another page of
this issue. There is still abundant oppor¬
tunity for all to be represented in this
contest. Composers may be represented
in all classes but by only one composi¬
tion in each class. It is best to submit
new and practical works, pieces which
may have been written for study pur¬
poses or as examination theses are, as a
rule, not well adapted for publication
and consequently are not likely to be
successful in a contest of this nature.
The prizes are so arranged that they
cover practically all grades in piano
music, sacred and secular vocal solos,
anthems and secular part-songs.

Named Songs For Assembly
Singing and Rural Schools)

. book was originally designate

in the above manner because of the in
menseneedof just such a bo.ok for rur:
school purposes. However, after cor
suiting with experts we found that tl:
need for precisely the same book wa
just as great in the day school in th
city, large and small, and for that matte
in the musical home. People are sin;
ing more these days. The war brougl
that about. Young folks need a goo
song book in the home. The old “Colies
Songs” was the magnet of thousands c
home groups. The Song Hour will serv
in the same manner in normal homes c
sensible people, anxious to keep tli
home ties from being entirely severe
by the shears of moving pictures, club
automobiles, jazz. Book I is without piam
forte accompaniments so that seho (
boards everywhere can secure this wor
m the most inexpensive form. (Speci;
advance of publication price, 15c.) Boo
II has the accompaniments complete
(special advance of publication price c
cents a copy.) The Song Hot
is the compilation of some of the greai
est school authorities in the country an
was partly prepared as a public servk
under the supervision of a great eommor
wealth.

THE ETUDE

Small Photographs of the
Great Masters

We are pleased to announce that it
will be possible for us to supply within
a reasonably short time a carton con¬
taining one each of the following great
masters’ photographs:—

Beethoven, Mozart, Bach, Mendelssohn
Schumann, Schubert, Liszt, Chopin’
Handel, Haydn, Wagner, Verdi. ’

The size of eacli photograph is I%x2%"
and the price is twenty cents for the’
twelve. Here are real photographs of a
very desirable size for only a little over
one cent each, about the price it has
been necessary to pay for the ordinary
half-tone prints of the past. We believe
that these small photographs are going
to supply the great demand that has
been felt by us from the teachers and
schools of the country. If this set of
twelve is well received, we will go further
and make other series of musicians’
photographs and at the same rate.

Six Pianoforte Pieces
By Charles F. Huerter

This set of six pieces is an exempli¬
fication of extreme modern treatment as
applied to compositions of moderate diffi¬
culty and in characteristic vein. The
pieces arc entitled, A Miniature; A
Nightmare; Shepherd’s Song: March Bur¬
lesque; Romance Poetiqui ; i ’nlse Bur¬
lesque. These pieces are melodious and
in regular form. Their unconventionality
lies chiefly in the harmonic treatment.
Such pieces are necessary in teaching
nowadays, in order to accustom students
to the modern trend and development in
the art of music. They form a good prep¬
aration for the larger works which must
be taken up later on. ,

The special introductory price in
advance of publication is 30 cents per
copy, postpaid.

New Piano Pieces
By Rudolf Friml

We take pleasure in announcing that
a new and important name has been
added to our catalog, that of Mr. Rudolf
Friml, the well known pianist and com¬
poser. We have accepted from Mr.
Friml a very interesting set of piano
pieces. One of these pieces entitled
Moon Dawn, will be found in the music
pages of this issue. There are five other
pieces in this set, all in Mr. Friml’s best
style and well diversified in character.
They are all of intermediate difficulty,
about grade IV. Deserving of special
mention are Valse Christine and Marche
Mignonne. We are also publishing Mr.
Friml’s new love song entitled Longing.
This number will also be published in a
transcription for piano solo.

A New Instruction Book
By John M. Williams

Piano teachers who prefer to start in
at once with both treble and bass clefs,
will welcome this new book with enthu¬
siasm. Mr. Williams, who is a practical
teacher and writer with many successful
works to his credit, has embodied the
best results of his own teaching experi¬
ence in this new book. It is a real
instruction book starting in from the
very beginning. The material, which is
both original and selected, is set forth in
a logical and progressive manner. Excel¬
lent results will undoubtedly be obtained
from the use of this work.

The special introductory price iu
advance of publication is 40 cents per
copy, postpaid.

Intermediate Study Pieces
For the Piano

This will be the final month of the
introductory offer on this book. It
printed from special large plates and
there are an unusual number of pi«* s
included. We give a partial list of its
contents as follows: Perpetual Motion,
Webb; Blowing Bubbles, Felton; Pif r ~
retta, Noelck; Boheme Polka, Rubinstein;
Twilight Reverie, Heller; Plaisanterie,
Barge; The Brook, Karganoff; and many
others.

The special introductory price in
advance of publication is 30 cents per
copy, postpaid.

I’HE ETUDE

The Golden Whistle „

juvenile Operetta Bv H^r s

By Mrs. R. R. Forman T ’ Finck

We are about to publish a new operetta the mo.stdk^'' 6 ■ y , ea f’ as music editor of
for children, by two well-known writers l>apers, Henr/T p in l ^ eW J ork news ‘
whose previous efforts have met with closest contact wi'twT* haS been m the
invariable success. The magic properties world and n , the S reat music of the
of the Golden Whistle are^J hUong ofthe greatest many

and story in a very new and entertaining nial and iUumin^h, , No m ° re gC ~

manner. Gertrude Knox Willis haf into American ewu? f*? has ,f v « come
written a fascinating plot all about a very best work ! journalism. The

sleepy boy and a white rabbit with a from this gLt j"‘ nStr f uctl . v c character
witch, elves and the Queen of the Fairies experience fs ImWr ?/ - ncb ™ us,cal
herself, and Mrs. Forman has written Progress” embodied in Musical
just the sort of music to please both the an asset ’to th7 Pa — ° f which wiU be
juvenile performers and their audience, possessing 1 it , (y T" g or old )

The brightest and catchiest melodies reading fhe proofs *** fi ? ished

all in unison, and charming dances fully to secure thf ir ! d the opportunity
described and all costumes and stage “introductory rate” 1 * of so ^ T™ 1

directions are carefully detailed in the remain open long ^ DOt

book. This play may be given in or out VT g ‘

of doors. The stage setting is very Newman Album of
simple, inexpensive and easily provided. Classical Danrps
One copy only to any one at an ad- q in „ A ■
vance of publication price of 30 cents. nrf „ ™ US1C , and dancing are kindred
„ , . °“ 8 ’ u is eminently fitting that thev

Etudes Miniatures should be united in , i, n j, _ , -

Easy Study Pieces
By Frances Terry

adopted

shouM be united in a book of this nature.

d f n t CeS t0 lje found in this work
works nf° ° f I 1 ’ 6 most ce f e brat e d

tire title which has been s ome splendid* 5 numbers bTcontemporaJy
—. . , the new set of studies by writers. There are both solo and

Frances Terry. We have omitted the ensemble dances, all of them are care
title “Alphabet,” which we used last f «lly worked out and described in full
month .i, tins might prove somewhat with diagrams and explanatory text The
misleading, t hese studies are not of the umsic pages are marked and numbered
first grail. I it they lie in grades 2 and to correspond with the descriptions 4nv
2i/,. Then ,re twenty-six studies in all one who understands dancing should be
and they arc particularly good, so much “ble to work out any of these numbers
so that i. number of them might be successfully by following the given direc-
plaved separately as pieces. They are tions. This book is almost ready,
tuneful throughout and well contrasted, The special introductory price in
the harmonics and the general treatment advance of publication is 75 cents per
being most workmanlike. This is just co Py» postpaid,
the right sort of book to take up before

beginning third grade work. Five First Position Pieces

The ! .1 introductory price in For Violin and Piano

advance publication is 35 cents per By Arthur Hartmann
copy, post pal The grading of violin students is quite

In the Forest different from that of piano students.

Nine Nature Studies the - v “ un f '' ioll " is , 1 , first begins to

Bv HnmiT Primn ,d '.- ’ be works first of all upon the open

ny Homer Grunn Strings and thence works his way into

This work is* now on the press but the the First Position. He remains 'in the
special introductory offer will be con- first position, however, until he is well
tinued during the current month. Much P ast the elementary stages and there are
can be done with these unique character- many effective pieces which do not require

istic pieces. 'They may be used us piano a knowledge of more than the first

. 1 1 solos, or recitations or, position. There is always a demand for
group, they may be produced SIK 'b pieces. Mr. Hartmann’s new set of
mil made into a little wood- pieces are charming in every way. They
They are extremely well a re rea l violin music and the violinist
modern style. In point of has something good to play which does
y belong in the second and not overtax his technic.

solos,
taken as
in costun
land skei

.—- - i--

minculty tl„ y belong in the second and not overtax his technic,
third grades The special introductory price in

The special introductory price in advance of publication is 30 cents per
" publication is 25 cents per C( W> postpaid.

e °py, postpaid.

Melodious Elementary
Etudes, Op. 161
By Franz J. Liftl

.This is a set of fifteen ™

Collection of Anthems
and Oratorio Choruses

Difficult as are Oratorio choruses, this
volume contains anthems and choruses
useful of varlous types and degrees of difficulty.

It provides the conductor or choir

studies arranged "in "progressive ortler Jt P^des the conductor or choir
beginning in the early second grade 411 master Wlth a solution of many problems.

arpin 1 . going beyond'three f acrGd m i d ' wcek concerts or special

fe arp r^r- Sunday afternoon or evening services

sharps or three flats. - " They' are par¬
ticularly good for study in ‘ mechanism, “ ce “ H P 1C

Author m and in va netv of touch. The m V s, . c - Io Y'

author is a well known and very success- °* “ e Gno,r “ *“8™
tul European teacher and composer. Mr. Potion may be found
is already well represented in our »rachcallv anv and ev
well g by many original compositions as
»eu as compilations from the classics.

,ine special introductory price in
advance of publication is 35 cents per
c °Py, postpaid.

Sixteen Recital Etudes
By Ludwig Schytte, Op. 58

his m f?. < l. by ?®. ! s known chiefly through

need splendid classic numbers to interest
music-lovers and demonstrate the ability
of the choir of singers and in this com¬
pilation may be found many numbers for
practically any and every season, worthy
of serious study and having the added
advantage of being bound together.

Our advance of publication cash price,
35 cents, postpaid.

Short Melody Etudes
With Technical Points
By Mathilde Bilbro

Bilbro’s work, as an elementary

em '““g V deI ightful piano pieces in mod- writer and a teacher of the young, is
n and characteristic stvlc. Pieces such well and favorably known. She has to
Stud- S,u ™ ber Song and 'in the Mill. His her credit many successful works. The
- and ltV ' Op- -5S, have all the tunefulness Short Melody Etudes are little study
at art ‘ Stic finish of his piano pieces but pieces in a characteristic vein well
val ne Same time thev have real technical adapted for second grade work. They

* . and interest. ‘ These studies are are all very tuneful and they cover just

ducf- y good to be used as an intro- such points as are required at this stage

corn- to the works of the more modern of progress, such as scAles, repeated

‘f osers - They are of about the same notes, broken chords, wrist touch, stac-
8 TR aS User's Op. 45. cato, etc.

adt;! special introductory price in The special introductory price in
eonv 6 of Publication is 30 cents per advance of publication is 25 cents per
iy> postpaid. ‘ copy, postpaid.

Exhibition Pieces
For Piano Solo

This new book is now well along in prep¬
aration but the special introductory
offer will be continued during the current
month. This is a splendid opportunity
to obtain an unusual number of exhibition
pieces, all gathered together under the one
cover. The book will be printed from spe¬
cial large plates. There are many occasions
when such pieces as these are indispen¬
sable. The player is often called upon
for pieces which tend to display powers
of execution, of velocity, of endurance or
even of bravura. All such pieces will be
found in this collection.

The special introductory price in
advance of publication is 50 cents per
copy, postpaid.

Let’s Go Traveling
Operetta For Children
By Cynthia Dodge

A rainy day story in song and action,
for boys and girls, in quaint and curious
costumes. No “flower” nor “fairy” plot,
but a real entertainment for the audience
and real fun for the performers.

The humor of the dialog is particu¬
larly suited for boys as. well as girls and
each character takes an equally active
part in the play.

The music is all in unison when the
chorus is used, is very tuneful, easy to
memorize and lies in the proper ranee
of the young voice.

Pen-and-ink sketches show all costumes
and the stage directions give all steps of
dances, all gestures and suggestions
necessary.

One copy only may be obtained at the
special advance of publication price, 40
cents, postpaid.

Etudes de Style
By E. Nollet

T bis book of studies is now in press
and the edition will soon be ready. The
grace and refinement, found in the writ¬
ings of all of the modern French com¬
posers, are particularly well exemplified
in these studies. Although in point of
difficulty they do not proceed beyond
grades four and five, nevertheless, they
are real artist studies, each one being
well worth playing as a separate piece.
They are more interesting to play than
studies of similar grade by Heller and
other writers and that is saying a great
deal.

The special introductory price in
advance of publication is 35 cents per
copy, postpaid.

Seventeen Short Study Pieces
For the Piano
By M. Greenwald

Short Study Pieces in the Second and
Third Grades is the title selected for
this new book. It is now nearly ready.
These study pieces partake of the nature
both of technical studies and of char¬
acteristic pieces; each number has an
appropriate title. The technical features
include scale work, wrist work, crossing
the hands, repeated notes, triplets, legato,
chromatics, velocity, broken octaves and
broken chords. It is just the sort of a
book to take up upon beginning third
grade work.

The special introductory price in
advance of publication is 25 cents per
copy, postpaid.

Golden Memories
By Mrs. H. B. Hudson

This new book is now well under way.

It completes the series by Mrs. Hudson,
bfK™ with her little book entitled,

A B. C. of Piano Music. Whereas, the
other hooks of the series all use the
capital letters only instead of the musicul
notation, this book still uses the capital
letters hut also gives the musical no¬
tation. Thus the connection between the
capital letters and the musical notation
is finally established. The melodies are
not original but are taken from familiar
hymns, folk songs, etc., all arranged in a
very easy manner.

The special introductory price in
advance of publication is 25 cents per
copy, postpaid. 1

APRIL 1923 Page 281

First Piano Lessons at Home
By Anna H. Hamilton

The special introductory offer for this
new book will be continued during the
current month, although the edition is
very nearly ready. This is a genuine
first book in music; it may be used at
the beginning, independent of any method
or instructor, or it may be used in con¬
junction with the first instruction hook.
Throughout a considerable portion of the
book the pupil plays with one hand only
at a time and in the treble clef. In addi¬
tion to this it combines the features of
an elementary writing hook.

The special introductory price In
advance of publication is 50 cents per
copy, postpaid.

Secular Mixed
Chorus Collection

Choral Societies or Community Clubs
of singers will find this book a great help.
In the one volume are choruses enough
for a program, including every type,
humorous, serious, descriptive or dramatic
and all within the scope of reasonably
good amateur organizations.

The binding together of this great
variety of material leaves no separate
copies to be mislaid. Each and every
number in the book has been tried out
enough to show its worth, so there is no
“dead wood” in the collection.

The special price in advance of publi¬
cation is 35 cents, postpaid.

Advance of Publication Offers

Withdrawn-

Works Now Issued

Album of Selected Compositions for the
Pianoforte, By Johannes Brahms. Price
$2.50. The only apology we have to make in
regard to this album is the delay there
has been in its appearance from the
press, but that delay has been unavoid¬
able, owing to the care and work that
was necessary in the selection and prep¬
aration of this volume. All of the best
and most frequently played numbers are
included. No pianist’s library is com¬
plete without this volume. While the
price seems high, when the list of con¬
tents is considered or comparisons are
made, it will be found to be a very
reasonable one.

Spaulding Easy Album of Piano Com¬
positions. Price 75 cents. The work of
Mr. George L. Spaulding is happiest in
just such easy, melodious teaching pieces
as are contained In this volume. There
are 22 popular compositions included.
Every one is of educational merit and
yet bright and extremely musical.

Musical Pictures from Childhood. By
A. Kop 3 r low. Price $1.00. Here is a
collection by one of the best contemporary
Russian writers. We believe it better than
some of the easy classics; it is most char¬
acteristic and extremely musical. The work
lias been well edited and it can he recom¬
mended to all teachers interested in young
pupils.

Peter Pan, By Mrs. H. H. A. Beach.
Price 50 cents. Here is a cycle of songs for
three-part choruses of women’s voices by
the leading woman composer. This setting
of Peter Pan is most beautiful and is not
too easy. We would say that this is a real
opportunity for every director of a
women’s chorus to present a work by an
American woman composer of which all
will be proud.

Popular Salon Album, a collection of
brilliant pieces for the pianoforte. Price
75 cents. A collection of 35 recital pieces
suitable for one’s own amusement or for
playing before any gathering. A wealth
of good, pleasing compositions of more
than usual musical merit by leading
modern composers. Not one of these
compositions will be found in anv other
volume.

. are pleased to announce the

issuance of the above five volumes of
such a varying character. Every one of
the above has a distinct purpose and
they are of such a character that we are
proud to present them. Any of the
above will now be delivered upon the
receipt of the regular professional price
or can be obtained on selection, the same
as any other musical work or anv sheet
music composition on our entire catalogue.

TEE

Pago 282 APRIL 1923

Premium Workers,

Attention!

Three new premiums have been added
to our list which are well worth the effort
which is necessary to secure them. You
will be pleased beyond measure with any
or all of them and it would only take
seven subscriptions to secure the lot.

The “Prim Lady’’ Shopping Bag (see
advertisement). It is made of Art Leather,
substantial and roomy.

Only TWO subscriptions.

Sterling Silver Bar Pin, hand-engraved,
2 inches long.

Only TWO subscriptions.

' Sterling Silver Hand-Engraved Pin, 2
inches long, set with pearl or rhinestone,
very dainty.

Only TWO subscriptions.

Sterling Silver Bar Pin, 2% inches long,
with colored stone or rhinestone in center.

Only ONE subscription.

Renewals

Practically all winter expirations have
been renewed, but there are still some to
be heard from. Let your renewal come
forward at once and save the annoyance
of missing a single copy of The Etude. If
your subscription has been stopped, be
sure to specify plainly the number with
which you wish it to begin.

Beware of
Swindlers

We are in daily receipt of letters of
complaint from our friends- who have
paid money to men representing them¬
selves as ex-soldiers, college students,
etc., who collect the full price for The
Etude and pocket the money. When
complaint is made to us and ,we investi¬
gate, “the bird has flown,” and all that
the subscriber has is a worthless receipt.

We again wish to caution our friends
not to pay money to anyone unless he
or she is personally known by them. If
there is the slightest suspicion call the
police. An honest man can easily prove
his authority and his responsibility.

Non-Receipt
of Copies

Where copies of the Etude Music
Magazine are lost in the mails, write to
us direct instead of to the representative
or subscription agency with whom the
order was placed. Complying with this
suggestion will save a lot of time and
enable us to make quick adjustment. When
changing your address for the summer,
give both the old and new address,
This is important as our files are i
ranged geographically by towns and c
less we have both addresses, we cannot
locate a subscription.

D. A. CLIPPINGER

Teacher of Singing

SUMMER TERM

Five Weeks, Beginning June 25th
Iddress, D. A. Clipping*-, 617-618 Kimball Hall, Chicago

DANA MUSICAL INSTITUTE

WARREN, OHIO

Summer Session Opens June 18th

Dana Musical
3 P°M? Eastern

Permanently Adopted by Foremost Teachers

STANDARD HISTORY OF MUSIC

By JAMES FRANCIS COOKE PRICE, $1.50

A FIRST HISTORY OF MUSIC FOR STUDENTS AT ALL AGES

itbook told in story form. So clear a child can understand every wor
charmed with it. AD difficult words “self-pronounced.” ISO excell
Europe, 400 test questions, 250 pages. Strongly bound in maroon dc

A thoroughly practical

illustrations, map of musical nurope, -rury rest qi

THEODORE PRESSER COMPANY

PHILADELPHIA, PENNA.

A Brilliant Concert Waltz-Song

Moonlight—Starlight

By Hallett Gilberte

Appearing on the Programs of Many Prominent Vocal Artists

High in E Flat, Range d to c. Medium in C, Range b to a.

PRICE, 75 CENTS

A feature number with
FLORENCE MACBETH

Published by

THEODORE PRESSER
COMPANY

1710-1712-1714 Chestnut Stre
PHILADELPHIA, T

ffe *..<» r r ' *

1-—

Hr

J:; I - ; 1

§

nTi* L. ilP

The

Herbert Witherspoon
Studios

44 West 86th Street, New York

The Education of a Singer

Voice, Interpretation, Coaching in Opera,
Oratorio and Concert Repertory, Practice
Lessons, Acting, Piano, Sight Reading
and Analysis, French, Italian, German,
Lectures, Pupils’ Musicales.

All the work done with the assistant teachers is under
Mr. Witherspoon’s personal supervision.

New pupils will be heard by Mr. Witherspoon by special
appointment.

Famous singers who have studied with
Mr. Witherspoon:

Merle Alcock, Celebrated Concert Contralto.

Mabel Garrison, Soprano —Metropolitan Opera Co. .

Lucy Gates, Grand Opera and Concert Soprano.

Florence Hinkle, Famous Concert Soprano.

Louise Homer, Metropolitan and Chicago Opera Companies.
Louise Homer Stires, Concert Soprano.

Kathleen Howard, Contralto —Metropolitan Opera Co.
Olive Kline, Well-known Concert Soprano.

Lambert Murphy, Tenor — Metropolitan Opera Co. and
Concert.

Edna Thomas, Concert Mezzo-soprano.

Amy Ellerman, Concert Contralto.

Carl Formes, Baritone—Williamson Opera Co., Australia.
Knight MacGregor, Concert Baritone.

John Quine, Concert Baritone.

Ellen Rumsey, Opera and Concert Contralto.

Vernon Williams, Tenor — Grand Opera, Italy.

(Son of the late Evan Williams)

Miss Minnie Liplich, Secretary

Telephone Schuyler 5889

Mr. Witherspoon will teach at the Chicago
Musical College, 620 South Michigan Boulevard,
Chicago, from June 25th to July 28th, 1923.

Mr. Graham Reed, assisted by Mr. Walter Leary,
will conduct a summer course at the Herbert
Witherspoon studios in New York from June 25th
to August 1st, 1923.

Please mention THE ETUDE when addressing our advertisers.

E ETUDE

BUSH CONSERVATORY

KENNETH M. BRADLEY

President

CHICAGO

EDGAR A. NELSON

Vice-President

EDWARD H. SCHWENKER

Secretary

SUMMER SCHOOL

Normal Courses

Five Weeks, June 27 to July 31

SPECIAL COURSES PUBLIC SCHOOL MUSIC NORMAL

Ten Weeks, May 23 to July 31

Six Weeks, June 27 to August 7

The Greatest Faculty ever Assembled in any American School of Music. Over 90 Teachers
of International Reputation. Among them are

PIANO— Jan Qhiapusso, Mme. Julie Rive-King, Edgar
A. Nelson Ella Spravka, Edgar A. Brazelton,
John J. Blackmore

VOICE— Charles W. Clark, Boza Oumiroff, Gustaf Holm-
qrnst, Herbert Miller, Mae Graves Atkins, Mme.
Justine Wegener.

VIOLIN— Richard Czerwonky, Bruno Esbjorn, Rowland
Leach.

ORGAN —Edgar A. Nelson, Florence Hodge.

CELLO-B runo Steindel.

THEORETICAL COURSES— Kenneth M. Bradley,
Edgar A. Brazelton, Grace Walter, Rowland Leach.
ALL ORCHESTRAL INSTRUMENTS, EN¬
SEMBLE, ACCOMPANYING, LANGUAGES.
EXPRESSION —Mae Riley McKinley.

ACTING— Lester Luther.

DANCING— Cora Spicer Neal.

NORMAL COURSES

tup Normal Courses are offered in all departments. Special attention is called to the SIX-

WEEKS COURSE IN PUBLIC SCHOOL MUSIC under Lyravine Votaw and William Nordin and

DORA G. SMITH, famous authority on Chicago High School Music

Special announcement is made of the exclusive teaching engagement of

OTAKAR SEVCIK

World-renowned violinist and teacher of Kubelik, Kocian and Morini, available

MARCH 1st to SEPTEMBER 1st

A remarkable opportunity for American violinists to study with the foremost violin teacher of the present day,
with the superior artistic advantages of this great school.

FREE SCHOLARSHIPS

In Piano, Voice and Violin with each of the Artist Teachers of these departments. The scholarships will be awarded
in open competition. Send for application blanks.

STUDENT DORMITORIES

The only Conservatory in Chicago maintaining extensive student dormitories for Women and Men. All outside
rooms. Practice pianos. Rates $9.00 per week and up. Excellent table. Reservations should be made as far in
advance as possible to insure accommodations for the summer Term.

For detailed information and Summer Session Bulletin address

T. E. JONES, Registrar, 839 North Dearborn Street, Chicago, III.

Taqe 286 APRIL 1928

THE ET

Ithaca Conservatory of Music

and

Affiliated m™",
Schools

Director. John Quine, Bert Rogers
r, pupil of Leschetizky. Seven assist-

Egbert, Dean, pupil of Sevcik. Caesar Thomson,
learner, ana six assistants. .
n, James Quarles, Director. Official Organist Cornell Univer-
•reparatory, Academic, Post Graduate and Special Courses,
did equipment of eleven buildings, including- four dormitories,
um, gymnasium, sorority and fraternity buildings, etc. All
approved by the New York State Board of Regents
Six Affiliated Schools

>rge C. Williams, Dean.

ffiards. Dean. Private
Conducting, Violin

Piano

AMERICAN INSTITUTE
\ OF APPLIED MUSIC

\ Metropolitan College of Music

\ THIRTY-SEVENTH YEAR

Kate S. Chittenden, Dean

V and a

Pedagogy \ FACULTY OF
Courses \ SPECIALISTS
Lead to \ teaching

Certificates and Diploma\ Music in

Summer Session \ al1 lts ,

Be ins \ branC ' ies

June 18 th \

SPECIAL COURSES FOR TEACHERs\

Summer Rates May 15 to September 15
For Catalogue and Circulars address \

J. LAWRENCE ERB \

Managing Director \

212 W. 59th St. New York City \

Trinity Principle
Pedagogy

Institute of Musical Art

of the City of New York

120 CLAREMONT AVENUE

corner 122nd Street, West of Broadway

FRANK DAMROSCH, Director

Special classes in Singing, Song and Opera
Repertoire under ALEXANDER SAVINE
Serbian Singer, Conductor and Composer

Special Classes for Advanced Pianists^and Teachers,

CARL FRIEDBERG

For full information apply to the Director.

INNER FEELING and REASONING

EUROPEAN TOUR
SUMMER SCHOOL, New York City
: EFFA ELLIS PERFIELD

PI A]

Carnegie

SUMMER

New York
Courses for
PIANISTS-TEACHER
ACCOMPANISTS

Sight-Touch-Heariug-System Send for Booklet
Mr. Cranberry will direct the University of Georgia Summer
School of Music June 25th to August 4th, Athens, Ga.

Summer School Announcements
Pages 279, 282, 283, 284 and 285

THE CHARLES TAMME VOCAL STUDIO

264 W. 93rd St., NEW YORK CITY
SUMMER COURSE

Offers an efficient schedule for each pupil's needs
, . (For the Pupil—Method

Instruction / For the Professional—Coaching
[For the Teacher-New Ideas
METHOB TEC1ILSQUE INTERPRETATION

ZONES OF DYNAMIC UNDULATION

New short cuts towards proficiency. How
to co-ordinate most effectively. The secrets,
of piano touch, and other valuable informa¬
tion for piano teachers.

GUSTAVE L. BECKER

516 West 143rd Street New York City

f.

I The Weigester Summer School of Vocal Music

™ Youngstown, Ohio, July 18th to August 29th, 1923, (6 weeks)

The Entire Ground of Vocal Study is covered by means of

Lecture, Class and Private Instruction

SUPERIOR TRAINING AT MODERATE RATES
Write for Booklet E Carnegie Hall, New York City

lty I

EASTMAN SCHOOL OF MUSIC

of The University of Rochester

ALF KLINGENBERG, Director

Summer Session, June 25 to July 28,1923

Courses for Teachers of Public School Music
Courses for Public School Teachers of Instrumental Music
Normal Course for Piano Teachers
Course in Interpretation for Piano Students
Private lessons in Composition and Counterpoint, Piano, Voice,
Violin, Violoncello, Organ, Harp, Orchestral Instruments,
Organ Accompaniment of Motion Pictures
REGULAR FACULTY OF SCHOOL ON DUTY AT SUMMER SESSION
For Catalogue and Information, Address

THE SECRETARY, EASTMAN SCHOOL OF MUSIC

Rochester, New York

MRS. A. M. VIRGIL

Director of the >■

VIRGIL PIANO CONSERVATORY

and

School of Public Performance

Announces a

Normal Course for Teachers, also
Special Technic Course for Pianists

JUNE 20th TO JULY 28th

SUBJECTS—Virgil Technic, Interpretation, Practical
Harmony, Time, Accent, Rhythm, Sight
Reading and Ear Training.

WRITE FOR FURTHER DETAILS

120 West 72nd Street,

New York City

Conservatory in the West

SUMMER

MASTER

SCHOOL-

June 25, to
August 4—
Six Weeks

DETROIT
CONSERVATORY
OF MUSIC

47th Year

Francis L. York, M. A.. Pres. Elizabeth Johnson, Vice-Pre

JAMES H.BELL, Secy., Boi 7,5035 Woodward Ave., DETROIT, MICH.

. „ AUGUST 4

Intenswe Courses ,n Piano, Voice, Violin. Organ, Public School Music, Harmony

Faculty of 110. New $350,000 Budding. Low Tuition Rates. Room and Board $6 50 per week Send for free folder

MacPHAIL SCHOOL

Nicollet at Eighth

Please mention THE ETUDE when addressing our advertisers.

Minneapolis, Minnesota

APRIL 1923 Page 2SZ

-JUNIORr

ETUDE

i '

h

[ CONDUCTED BY ELIZABETH A GEST f

j\ ■

3*

Harry’s Lesson

y Olga C. Moore

p The Swan—Saint-Saens

t , I HJ*?" man y%jpnes : .;do you suppose you
I heard. The Sivan by Saint-Saens?

jh p' ccc "langtaiore times than the pianists;

| and if you play the violin you may already

H have it .in your repertoire. |'If not, you
m shot! Id. learn-it and add it'to your list of

I. mcmo '||ed Pieces,‘‘as it as always well¬
s’ I wed and is a good number ;,> have
| ready^j It has beenpsuTangccl for a great
I: many inatt^ipents and'eomhinations of in-
§ str umenf$WBg qvenp%cal arrangements
of it have been made. Saint-Saens wrote
it as a short piece for orchestra and piano,
one of a suite of twelve short pieces—
very short, in fact, some of them are-
called “The Carnival of Animals.” Some
of the pieces are very humorous but are
seldom performed. The Swan is the most
beautiful in the set and is very well known
and popular. It is a simple flowing melody
in quarters and eighths, with a broken
chord accompaniment in sixteenths, in the
key of G major. The only thing at all
unusual is the time, 6/4, which must be
counted out carefully at first.

Saint-Saens was born in France, in
1835, and died in 1921, at the age of 87.
What other compositions of his can you
mention ?

Harky had received a new piece, at his
ast lesson, called Rose Petals. Practice
time came along, on this particular dav
and Harry stalked up to the piano.

■hirst of all he banged through the first
page of Rose Petals. Harry did not know
that his father had come home early and
was reading the evening paper in the next
room. (Or rather, he was watching the
boy over the top of his paper.) When
Harry had finished the first page, and
“ the second, his father called,
i0n «v.rL YeS ’ sir ’” answer ed the startled
son. What new style of music is this you
are giving us this evening?” asked his
father, I don’t think I ever heard any
musician pound on the keys as you are

doing, if you ’d like tQ break the p . ano a

little quicker, there’s a big hammer down
stairs m my tool box, that you may use.”

There

an’t play

Harry’s head drooped, his face flushed

JSJ? hurt him ' To

himself, he finally answered fretfully, “Oh
pshaw, Dad, what does a boy want with

such a piece as Rose Petals? Mrs. M_-

is always talking about a beautiful melody
m the bass and soft chords in the treble.
I don t want that mushy stuff. What have

I got big strong hands for, if I
the chords loud with ’em? I want some¬
thing rough and tumble!”

, “ 0h - 1 see ’” said Harry’s father, thought¬
fully, You do not want MUSIC, you want

to make NOISE. You know that we are
going to attend a piano recital to-night,
given by Miss Right’s pupils, and you will
hear some real music there—not noise.”

The Recital was under way. The next
number on the program was Rose Petals
played by Issy Right (Miss Right’s young
brother, and Harry’s playmate).

The first melody, played with the left
hand, came forth like the tones of a ’cello
the right hand playing an accompaniment
ot soft chords, reminding one of rose
softly’ dr ° Pping ’ dr °PP in g. dropping, oh, so
Then the right hand took up the melody

Tht i!fth°“!i a i, little higher ’ Hke a violin -
I he left hand here carried an accompani¬
ment, with a little accent on the first beat
of each measure, while the double notes
'the’mdody!’ softly, just keeping time with

Then, again, the ’cello-like tones, so like
the human voice, sang clearly in the bass
and the right hand chords again seemed to
represent rose petals dropping softly.

., Tru ' y .’ Issy , R, £ h t was a little artist, and
the audience heartily approved of his play¬
ing, judging by the tremendous applause
Harry shyly turned to his father and"
S’ 1 say - Had, when we get home, I

WTTCTr S ! e e 1 „ can make that much
MU S IC out of my Rose Petals.”

J?! y0U wish that we could be mice

when'he” I 1 " °" Ha " y ’ s next music lesson
when he plays Rose Petals?

Problems

H-V™ a thor °ughly reliable sense of
rhythm. And even if you have, are you
thoroughly familiar with all the various
time signatures ? And the many ways that
measures can be made up in each time
signature?

The following is a good exercise for
making one feel “at home” in different
time signatures.

Take a piece of paper and write a two-
four-time signature, and space off eight
measures. In the first measure put one
note which must fill the measure of time
in the second measure put two notes. In
the third put three notes; in the fourth
lour notes and in the fifth, five notes, and
so on. The exact time value must be
given to each note to make the number of'
given notes exactly fill the measure.

Then do the same again, this time giving
yourself a three-four time signature. Then
again with a four-four time signature.
Then with a five-four, six-four. Then
with three-eighth, four-eighth, six-eighth
and s ? , fort , h ' Th is may be done by any
one, individually, or may be used as a
stunt” at a club or class meeting, giving
a prize for the one having the fewest
mistakes.

A little fish swam in the sea
As merry as a fish could be
And when the fisher man came nea
It said, "He’ll not catch me.

I have no fear.

I can not leave the sea so soon
For 1 do my SCALES each day
At noon.’’

Letter Box

Dear Junior Etude •

w n oS,^ 8 e. fr ° m M °“-

Montreal is a city of two

and French ^so we have cc-— ^’
both languages. At school we arc
smg French and English songs. 6
T , Yours sincerely

Edith Mary Harrison'(A ge 12)

Verdun, Montreal, P. Q„ Canada.

over e some R ofYh/'mews Etc,db ' and flaying

Bird Calls in Different Nations

In some countries the calls of certain
luck are take ” ‘° mean g00d luck or bad
In Poland the hooting of an owl is
n as a sign of misery,
said p, L r ° aking of a ™ in ^ssia is
is take ^ bloodshed. The cuckoo

In c” In - Russia as a s '8 n of sadness.

c “*~ i! »

* "* h W h* so “" ,ime!

Clover

Hers is something new for a pastime
when you g0 on your vacation this sum¬
mer. Of course some of you live all the
year round where you can go into the
fields and woods; but a great many others
only see the fields and woods for a short
time in the summer. Everyone loves to
sit in the fields and imagine th.emselves in
the middle of a vast sea of grass and
clover, and look at the sky and the clouds
and listen to the birds. And don’t you
love to pull the daisies and buttercups and
fancy grass? But soon your bouquet
becomes wilted, you throw it away and
have nothing to show for your visit to
the fields.

The next time you go, take a strip of
heavy paper, about eight or ten inches

Time

Th" D ^ W 3 St3ff ° n * "ith crayon.
Then gather your clover and fancy grass
and make a little melody on your staff.
Cet white clover for the half and whole
and red £ lover the quarters and
eighths. Put them just exactly where
they should go on the staff to make your
melody, and push the stems through to
the other side of the paper so they will
stay in place. Use blades of grass for
“ e of the notes and for the

hooks’ of the eighths. Make little slits
m the paper to pull each end of the blade
of grass through, so they will stay in

Place too. You will have a very prettv I
melody and you can bring it home with ,,
you and try it on your piano. {

I sometimes think
It’s so much trouble
To practice every day,
But then I know
It’s necessary
To really learn to play.

If all the scales
Were joined together
And rolled out into one,
It seems to me
That it would reach
From here up to the sun.

JT ^ ' 1,11 .you now muen I pnlnu 'Tum

tude and especially the Junior Department
^udying piano for four years and

Your friend,

Maby Donahoe (Age 13).

Ohio.

Page 2S8 APRIL 1928

pr

1

31

T

M

1

s

[f under' masterteachers^^*^

yes

A RE you satisfied with your out¬
look in the profession — don’t
you feel that you could estab¬
lish yourself in a position of greater
responsibility and incidentally enjoy
a better financial future if you spent
a little time on brushing up your own
knowledge?

An ounce of proof is worth a pound
of promise. Making claims is easy—
‘‘making good” is the real test of
merit. Many readers of The Etude
— teachers and students, have been
greatly benefited by our courses—
others have seen our announcement in
as yet have

Sherwood Piano Lessons
for Students

Contain complete, explicit instruction on every phase of piano playing.
No stone has been left unturned to make this absolutely perfect. It would
surprise you to know that Sherwood devoted to each lesson enough time to
earn at least $100.00 in teaching. It is possible for you to get all this
time and energy for almost nothing, compared to what it cost. The lessons
are illustrated with life-like photographs of Sherwood at the piano. They
are given with weekly examination papers.

Sherwood Normal Lessons
for Piano Teachers

exercises for developing, strengthening and training the muscles of the
fingers, hands, wrists, arms and body, fully explained, illustrated and made
clear by photographs, diagrams and drawings.

Harmony

A knowledge of Harmony is necessary for every student and
teacher. You can study the Harmony Course prepared especially
for us by Adolph Rosenbecker, former Soloist and Conductor, pupil
of Richter, and Dr. Daniel Protheroe, Eminent Composer, Choral Con¬
ductor and Teacher. You need Harmony and this is your chance to
study the subject thoroughly.

Harmony Teaches You to

2. Transpose at sight
accompaniments whicl
called upon to play.

4. Detect Wrong Notes and faulty
progressions in printed music or
during the performance of a com¬
position.

5. Memorize Rapidly, one of the
very greatest benefits derived from
the study of Harmony.

6. Substitute other notes when for
any reason the ones written are
inconvenient to play.

orchestras.

Mark an X Before Course That Interests You

AND MAIL COUPON TODAY

Remember, we will send you 6 free lessons from anv one of the Courses
named below. Just put an X in front of the Course that most interests you
and let us tell you what we have done for others — what we can do for you.

UNIVERSITY EXTENSION CONSERVATORY, Dept. B3

Langley Avenue and 41st Street, Chicago, Illinois

Please send me catalog, six free lessons and full information regarding
course I have marked with an X below.

□Piano, Course for Students
□Piano, Normal Training
Course for Teachers
□Comet, Amateur
□Comet, Professional

□Violin □Voice

□Mandolin nPublic School Music

□Guitar HHarmony

□Banjo, 5-String □Choral Conducting

□Organ

- Age—

Street No. _
City-

n THE ETUDE whei

Junior Etude Competition

The Junior Etude will award three
pretty prizes each month for the best and
neatest original stories and essays
swers to puzzles. mnn th-

Subject for story or essay th„ month
‘‘Is Music a Part of My Home Life.
Must contain not over one hundred and
fifty words. Any girl or boy under fifteen
may compete.

All contributions must bear name, age
and address of sender (written plainly
and not on a separate piece of paper) and
be received at the Junior Etude office,
1712 Chestnut Street, Philadelphia, Pa-
before the tenth of April. Names of prize
winners and their contributions will be
published in the issue for Jui.e.

Put your name and age on the upper
left-hand corner of the paper, and your ad¬
dress on the upper right-hand corner of
the paper. If your contribution takes
more than one piece of paper do this on
each piece. . . ,

Competitors must comply with all ot
the above conditions. Do not use type¬
writers.

MY GREATEST MUSICAL EXPERIENCE

One time wheVwe were "practicing far a
recital our orchestra was to play the first
number, and I was to play a violin solo.
After our last rehearsal we decided to leave
our music on our racks, ready for our per¬
formance that evening. I returned^ to th.

thing was ready and to take a glance at
my music when, to my great surprise. I found
it was missing! We searched all over, hut it
was not to he found. Just imagine my feel¬
ings ! Although I had never even tried to
play without my notes before, I decided I
would do so, and got through splendidly. So

t a "few""t

‘ute,s slow and fast scale
I played that evening I
mistake and put my whole

send complete address,

MY GREATEST MUSICAL EXPERIENCE

gram for a piano S solo OU IUnSs'k I ept m me t from
Ig rny selection, but as the programs
l was given special

were already' __

permission to use my _

niy music was before me and I was ready ti
play, when suddenly the lights went out anc
left the audience in total darkness—I coni,
hear the audience gasp, while somewhere ii
the hall a baby began to cry. Spurred or
! > ! J , l L deslre to entertain the people until th.
m>ce tint 6 W, 1 8tartPrt to P’ay anotbn
hefn?e th ft feai ld ™ eni " r, »cd several weeks

slough ffitS. pjh«u»

< my s

■ing the
”-hts cat
happy

?ys; *

1 just

horn—hornKT.
Rita — rituRIJ.
ale — SCale.

Honorable Mention for Composition

Edith Hanson, Florence Greene. Belva Nell
Rummager. Juanita Darnell. |( u t|, sift,
Alice Iloxler Bernice Singer, Julian L. Eddy
Melvin W. Klpkorn. tier rude Calkins, Mu
garet Hastings, Frances Hunihan, Grae . n ®
ington, Mary Elizabeth Doherty.
Baldwin, Helen Foote, Harry Dean 13
Hill, Marian Tipton, Eva Lut. c'atiS!
Breyen, Flora McArdlc. Mary A. Stack X
Rothroek, Marian Gallagher. Marian CiutfS 1
Virginia Kelley, Alvina I.ends, Itiehard i?
Voeffl.’r K Hann'h >I1 KoVh r, ' l \ l urlett rny ’ Marear ” f
tu'lie Ly’ng, Calda Waite, i .'niVi
Donaldson, Jr., Mari

rny, Margaret
George

Honorable Mention for Puzzles

Agnes BuriiN. John Burt Clark, Alm»

Hoik, Sarah Wellard Mill.. Mary MargZ

Rupp, Natalie Tyng, All.-. siniii. »•■«, <>~-T
Marian Mansheim, I)„ra i

. llel.

Hu.
rrell, .1

Letter Bo:

.1 ...lilt to 'm.,

e- M pearl i|.vll;i

■ I. .. l*. Will...

■

MY GREATEST MUSICAL EXPERIENCE
(Prize Winner)

This story I am about to relate is a trm
one that happened to me. This experlenct
was a public'piano recital. Of course It win

nevertheless, it was my recital. T had
planned this for several months, and for the
two months I practiced live or six hours
regularly, and three or four hours the last
two months. The day came at last on which

... «. I •laeKSlom*. A .I.

Karp. Mildred! Co, hint, - -

Evelyn Kiie.lnirg. thtiii, burg, dull

Tioel,. El. .r.i...- K i

-l: | .. , -r II...I,. . Lilli... ' ’ nice M.-liee

Molly Martin. Maty Burke. Anita Warner.]

Ear Training

Akf. your ears as goouaryour eyes'
music? So many music students learn
play a piece or an ex. -vise or study,
practice very hard to make a “showin
but do you think they have
idea of what they are doing, or trying!
do? DO YOU?

Can you recognize all the different kin
of chords and scales and intervals wfj
you hear them? (That is, without see*
them written down. r without finds
them on the key-hoard, i
. Can you tell the difference between
second and a seventh when you hear '

Or between a fourth and a fifth?
catches lots of people whose ears are
trained. Can you tell major and mine
scales apart when you hear them? It
certainly to be hoped that you can do this
much, at least. Can you recognize melodii
and harmonic and natural minor scales
Major and minor chords do not sound a
all alike; but do you know which i
which?

Puzzle

By Annie Walker Humphrey

The first letters of the words
puzzle represent the initials .of
mous musician or composer.

1. Was a master.

2. Famous, much-beloved.

3. Intensely patriotic.

4- Just, serene, blind.

5- Loud, violent behavior.

6. Glorious, famous halleiujahs

7. Exceedingly gifted.

8. Romanticist and song-writer

9. Pessimistic in temperament.

0. Famed, French-Polish Composer.
11. Composer, French genius.

2. Famous, prolific song writer.

3. Favorite, justly honored.

14. A great Russian.

15. Famous virtuoso, leari.»d

Georg Friedrich Handel

*>*m at Halle. ,6S S Died at London,

Master of the Oratorio. Gifted
the Violin. Harpsichord and the Or**”;
Messiah. The Judas Maccabeus, Samson,

olin. Harpsichord and tl
n. The Judas Maccabci

Property of

1883 | THE ETUDE’S FORTIETH ANNIVERSARY | 192 3

A Wealth of Rewards For Your Spare Time

Everybody Needs Some
of

These Premiums

Just a little enthusiastic time spent in get¬
ting new subscriptions for ETUDE MUSIC
MAGAZINE will bring them to you without
one penny outlay.

r housands Have Done
This for Years
Why Not YOU ?

For One New Subscription

WATER PROOF APRON, neat and attractive.

THREE PIECE SHIRTWAIST SET-consists
of bar pin and two small pins—gold filled,
very popular.

PICTURE FRAME—oval or oblong—plain non-
ta mE liable—velvet back.

ENVELOPE PURSE—back strap; black leather.

REAL PIN SEAL PURSE—black.

INDIVIDUAL SALT AND PEPPER SHAKER
-- 1 . f two—nickel—very attractive.

BOOKS FOR BOYS.

BOY-SCOUT SERIES.

Under Sealed Orders. \

On Belgian Battlefields. I . r
On ti Canadian Border, i Choice or one
thJJnde’■ Fir^ja. Mexico. /
i GIRLS.

"~i SERE

Your Own Subscription FREE

Our Most Popular Premium

For Two New Subscriptions

HAIR BRUSH—prophylactic—ebony finish.
CLOTHES BRUSH—prophylactic—ebony finish.
LINGERIE CLASPS—gold filled, pretty, attrac¬
tive and serviceable.

CREAM LADLE—Sterling.

CAKE KNIFE—Sterling siiver handle.

CHEESE KNIFE—Sterling.

BON-BON DISH—silverplated—gold lined.
HANDY NEEDLE OUTFIT-assorted sizes in
leather case.

BOOKS FOR GROWN-UPS.

The Auction Block—Rex Beach.

Penrod—Booth Tarkington.

The Circular Staircase—Mary Roberts Rinehart.
Escape of Mr. Trimm—Irvin S. Cobb.

Adventure—Jack London. .

Border Legion—Zane Grey.

20th Century Cook Book—Mrs. Harding.
PENKNIFE—12 Kt. gold shell, steel blade. -
MANICURE SET—fabricoid case, contains
everything necessary, white ivory finish.
HANDBAG—black, brown, gray or blue fitted
with mirror.

WIZARD CLOSET—GARMENT RACK—four
folding hangers.

NUPOINT GOLD FILLED PENCIL—ladies’
or gentlemen’s.

DAINTY MIDGET FOUNTAIN PEN—ladies’.

For Three New Subscriptions

O’CEDAR MOP.

LAVALLIERE—solid gold, large amethyst and
4 pearls with baroque pearl pendant.

SALAD FORK—Sterling.

BREAD KNIFE.

RELISH DISH—nickel plated—glass lining.
NELSON BIBLE-—bound in silk cloth.

COMBINATION SCISSORS SET.

For Four New Subscriptions

LEMONADE SET—7 pieces.

ROLLER SKATES—Boys or Girls—extension.
CAMERA—Prefno Jr., 2%''x3%".

THE FOLLOWING FIVE COMPLETE AR¬
TICLES.

Berry Spoon. \

Gravy Ladle. I

Cold Meat Fork. } Silver Plate

Sugar Shell. I

Butter Knife. /

TOMATO SERVER.—Sterling silver handle.
LADIES’ OR GENTLEMEN’S FOUNTAIN
PEN.

PATENT LEATHER VANITY OR CANTEEN

BOX with puffbox, mirror, etc.

KUiJo T’ortraJ^SenS

7

The Sanitai

JSjiSSr®

Wall Coa‘‘ n 8; r ^.

faxactly

the^all Color you wish

study, and
“showing
very clear
ir trying to

T HE artistic delicacy and beauty of Alabastine — the solid mat-like effects pro¬
duced by its use on walls and ceilings—cannot be adequately portrayed through
the mediums of colored inks on a printed page. Illustrations on this page
merely suggest the charming interiors produced with Alabastine.

With Alabastine Color Schemes, the new residence'you are building will express your
individuality and the very latest ideas in color harmonies. Or, the home you now
occupy can be wonderfully transformed by redecorating with Alabastine, which is
adapted to use on plaster, wall board, painted walls, canvas, or even over old wall
paper solid on the wall and containing no raised figures or aniline dyes.

als when
jt finding

Instead of Kalsomine or Wall Paper

Alabastine is packed in five pound packages, full directions on every package, mixes
with clear cold water, and is easy to apply. If you desire Alabastine results, buy genuine
Alabastine, in the package as shown above with the cross and circle in red.

Let Us Hein You Write us about your wall problems, and the general
, _ . , j furnishings of your rooms, and our Miss Brandon,

together with our decorative staff, will help solve them. This service is free. Write
for our free Color Chart, also, color card showing how the standard tints and white
intermix perfectly to form others, so you can secure the exact tones to harmonize
with rugs and draperies.

In the finest homes this spring, it is Alabastine for Health, Durability and Economy.

ALABASTINE COMPANY

785 Grandville Avenue

Grand Rapids, Michigar

M any dealer sellint paints alout the Alabasline-Opaline-Process.

iition THE ETUDE when addressing

1